Skip to main content

Full text of "Smash Hits Volume 61"

See other formats


^ 



I 






THE JAM 
LANDSCAPE 

15 HIT LYRICS including 

CEREMONY 

IT'S A LOVE THING 

ATTENTION TO ME 

SPANDAU BALLET and 
TEARDROP EXPLODES in colour 



1 



I 



Vol. 3 No. 7 




BONJOUR ET bienvenu, mes bijoux petits-pois. 'Ow are you, you naughty little 
things? Wait une second, there is a murrth in the room. Splat. Voila! The little 
blighter 'as frapp6 le bucket. Alors, sans further ado, let uss get down to ze 
bizness In 'and. You will 'ave noticed zat zere iss un burton badge attach^ to ze 
cuver (sacr6 bleu et Giscard d'Estaing!) But also we 'ave les features 
magnifiques about ze Classix Nouveaux, ze Landscape et ze Monsieur Foxton 
of ze Jem. Zat iss ne de mention pas les colour posters of Le Ballet Spandau et 
le Teardrop goes PouffI 
Also, tous les mots de chansons. Eh bien, ou est mon accordion? 

JUST A FEELING Bad Manners..... 2 

EINSTEIN A GO-GO Landscape 8 

(WE DON'T NEED THIS) FASCIST GROOVE 

THANG Heaven 17 8 

UP THE HILL BACKWARDS David Bowie 9 

JOHN I'M ONLY DANCING Polecats 17 

ATTENTION TO ME Hie Nolans 18 

SHEFFIELD GRINDER Tony Capstick 19 

IT'S A LOVE THING The Whispers 22 

CEREMONY New Order 26 

WHAT BECOMES OF THE BROKEN HEARTED 

Dave Stewart/Colin Blunstone 26 

TAR Visage 33 

GUILTY Classix Nouveaux 34 

TWILIGHT ZONE Iron Maiden 36 

NIGHT GAMES Graham Bonnet 36 

MUSCLE BOUND Spandau Ballet 43 

LANDSCAPE: Feature 4/5/6 

BRUCE FOXTON: Feature 14/15/16 

SPANDAU BALLET: Colour Poster 24/25 

CLASSIX NOUVEAUX: Feature 34/35 

TEARDROP EXPLODES: Colour Poster 44 

CROSSWORD 10 

BITZ 11/12/13 

INDEPENDENT BITZ 20/21 

DISCO 22 

VIDEO GAME/P.I.L COMPETITION 23 

STAR TEASER 27 

REVIEWS 28/29 

FACT IS SPECIAL 30 

BIRO BUDDIES 37 

CARTOON 37 

BADGE OFFER 39 

LETTERS 39/40 

GIGZ 42 

Specisl thanks this iMae to Jo Dalo (dotign). 




on Magnet Records 



JUST A 




It's been a week now since you went away 

I hope that you have gone to stay 

It's not that I don't like you, you're alright 

i just like to run my IHe 

K's just a feeling 

iMy fiat was nice and tidy, now it's not 

I fust don't seem to care a iot 

i feel so good, I really feel at home 

To sit in a mess all on my own 

It's just a feeling 

Chorus 
Just a feeling (just a feeling), just a feeling (Just a feeling) 

Just a feeling (just a feeling), just a feeling 

Just a feeling (just a feeling), just a feeling (Just a feeling) 

Just a feeling (just a feeling), just a feeling 

Just a feeling 

It's always a problem when I talk to you 

You make it so hard to get through 

You thought that I should get a steady job 

You couldn't see I'm Just a yob 

I'm just a skin age yob 

Repeat chorus to fade 

Words and music by Bad Manners 
Reproduced by permission Magnet Music Ltd. 




UESTION NUMBER one — 
did you see the video? A 
imad scientist and a pied 
piper, a surreal housewife in a 
Cubist living room, a hamster in a 
wheel and a box with a head that 
sang "Einstein A Go-Go" ^— 
Landscape's debut on Top Of The 
Pops, a visual version of their hit 
single. 

Question number two — who 
are these guys? Somewhere in 
the midst of the mayhem 
depicted on that short film, five 
oddly di-essed men could be seen 
playing instruments. Well, sort 
of. 

One sang and bashed away at a 
drumkit which appeared to be 
made from human heads — 
that's Richard Burgess who, apart 
from making a name for himself 
as Spandau Ballet's producer, 
has worked on countless 
sessions as a freelance drummer. 
He also helped to develop the 
electronic drumkit featured in the 
video. 

The blond guy With the 
futuristic-looking double bass is 
Andy Pask. He comes from a very 
musical family and sang in the 
school choir before studying bass 
and cello at the Royal Academy 
of Music in London. 

The one who really plays 
keyboards but appeared on your 
screens clutching the magnified 
neck of a most peculiar 
instrument is Christopher 
Heaton, who has played 
everything from serious 
avant-garde music to pop 
concerts in Germany. 

The singing head turns out to 
be Peter Thorns, who found his 
way to this country via Hong 
Kong and a succession of 
"groovy horn sections" in soul < 
and salsa bands. Usually he plays 
trombone — through a 



STEVE TAYLOR PUTS YOU IN THE PICTURE 



synthesiser, of course — but 
"Einstein" didn't have a 
trombone part so his head gets to 
sing. 

Finally there's the pied piper 
himself, John Walters, who has 
moved from saxophone and flute 
to their electronic cousin — the 
lyricon. He's also become a dab 
hand at composing by computer. 
John began playing in Landscape 
when still at music school and 
says his background is all to do 
with the band. 

IN SPITE of such bewilderingly 
diverse backgrounds and musical 
experiences. Landscape has been 
the major project of all these 
musicians for the last five years. 
They're all adamant — as they 
always have been — that it's a 
lifelong commitment. 

Three years ago Landscape 
were being called a jazz-rock 
outfit. They were playing pubs 
and clubs on a well-worn circuit 
in London and, although they 
really didn't fit in anywhere, they 
looked normal by their current 
standards. There were no vocal 
numbers, just a huge number of 
high-octane instru mentals that 
sounded like the product of a 
miniaturised — and electrified — 
jazz orchestra with a funk rhythm 
section. 

Unconventional, but a success. 
Landscape packed out regular 
weekly venues like The Stapleton 
in North London and got healthy 
sales for their two independent 
EPs on their own Event Horizon 
label. 

Then followed a year of touring 
colleges, clubs and arts centres 
all over the country before they 
sigtied with RCA and stopped 
doing live work last March. John 
Walters explains what happened: 

"With gigs night after night you 



do it as enthusiastically and as 
professionally as possible. But 
it's not very easy to think about 
new ideas or new directions for a 
band when you're working that 
hard. 

"We went through a great 
period of about eighteen months 
from hardly getting anyone along 
to our shows to packing out the 
regular ones. That did us a lot of 
good musically and got our name 
known." 

Even at this early stage, 
, Landscape had a fascination with 
the possibilities of distorting and 
changing the sound of 
conventional instruments with 
electronic devices^ Both the horn 
players used to go on stage with 
little black boxes strapped to their 
belts and wired up to 
impressive-looking chunks of 
hardware on the floor. 

They also produced one of the 
best stage sounds I've ever 
heard, partly thanks to a 
powerfully clear PA which they'd 
won in a competition for 
promising new bands. Even if 
you didn't particularly like their 
music, the sheer style of the 
band's presentation — especially 
at venues normally dedicated to 
scratchy rock'n'roll — still 
knocked you for six. 

BUT BENEATH this smoothly 
organised surface, a new style 
and direction were bubbling 
away. 

"The particular turning point 
for me," says John Walters, 
"came on a bright summer day in 
August '78 when I went to an 
instrument trade fair and saw two 
things that I'd been hearing about 
for months — the lyricon and the 
micro-composer." 

Family and friends, John says, 
tell him that he talked non-stop 



for twelve hours about what he'd 
seen. It was, he declares, "an 
incredible realisation of the 
possibilities of the kind of 
technology we could afford to 
invest in." The lyricon didn't 
present any great challenge as it 
could be carted around and 
slipped into the band like any 
new instrument. 

But the micro-composer 
offered new possibilities in the 
way the band put together new 
songs. Instead of throwing 
around basic compositions from 
each member at rehearsals, it 
was now possible for one person 
to write a whole piece of music, 
drums and all. The composer 
would store all the lines and then 
play them back through a 
synthesiser. 

Yet John likes to play down the 
effects of his discoveries. 

"Landscape provided me with 
a very strong direction," he says. 
But there were other upheavals 
going on. They took a long time 
to sort out their deal with RCA, 
which is handled through their 
own companies. 

"We don't just want to make a 
couple of records and 
disappear," John explains. 
"Having a degree of control is 
very important." 

The record company tie-up 
sorted out. Landscape made their 
first album (simply called 
"Landscape") which John says 
they're not completely happy 
about. 

"We were actually doing gigs 
in between sessions on the 
record, so it became a record of 
what we were playing live at the 
time. We've since realised that 
this wasn't a good way tp make 
an album." 
Nor were the results liAproved 



/ 



^ 






Landscape: (left to right): 
John Walters, Richard 
Burgess, Peter Thorns, 
Christopher Heaton and Andy 
Pask. 




Incredibly embarrassing pic 
of Landscape four years ago 
playing at an open air festival 
in North London. Just love 
that futurist presentation! 



^^ 



from previous page 

by the guidance of mainstream 
pop producer Greg Walsh. 
Though the band say they were 
grateful for the technical 
expertise — and for a timely 
injection of pop suss — they 
decided that in future Landscape 
would produce themselves. 

AT THE beginning of last year, . 
however, things took another 
sudden turn. 

"When we played purely 
instrumental music," John 
recalls, "we tried to tell stories 
through atmosphere, melody and 
interesting rhythms. We'd always 
have really evocative titles" 
("You Two Timed Me One Time 
Too Much" was one example) 
"and people would always 
remember them." 

At the same time the band 
cottoned on to the beginnings of 
London's new nightlife. 

"What was happening in 
society with computers and what 
was happening in the clubs — it 
all seemed to us to link up. It was 
like a blueprint for the future." 

John wrote a tune to express 
these ideas but realised that just 
having an idea wasn't enough. 

"It demanded words. It was 
Christmas and everyone else had 
gone away, so Richard sat 
around and wrote some words. I 
think he thought that everyone 
would be really put off, but they 
really liked them a lot. Suddenly 
we started producing a great 
flood of lyrical material." 



RCA were very worried, John 
recalls, "because they liked our 
tunes so much" but they did 
release that very first song, 
"European Man" and it became 
standard electro-disco fare, 
getting regular plays from Blitz 
DJ Rusty Egan. 

Having made such a radical 
change of scenery, how do 
Landscape react to criticisms of 
their association with that 
movement? 

"The only way you could 
accuse us of bandwaggoning," 
retorts John, "is to say that we 
jumped on it before other people. 

"We used to put on an annual 
Christmas party at the Music 
Machine. They wouldn't book us 
so we'd hire the place ourselves 
and put on other bands, fire 
eaters, jugglers — a total 
environment, that's an idea 
which is now becoming part of 
the new club thing." 

John sees this as part of a 
changing pattern of tastes within 
rock's young audience. 

"Seeing rock isn't just a matter 
of listening to a band. You might 
be putting everything into getting 
the audience physically and 
emotionally excited, giving them 
pleasure, but you're being let 
down by the rude barman, the 
grotty club and so on. 

"It's taken audiences a long 
time to realise this, but we 
noticed it two years ago when we 
played gigs at schools. The kids 
were clean, well dressed; they're 
all eighteen or nineteen now. I 



really feel that the grubby 
mentality of rock is 
disappearing." 

The band's enthusiasm for this 
movement also fits in nicely with 
their own attitudes towards 
trying out new ideas. 

"These kids can accept the idea 
of continual change," says John, 
"and Landscape have done that 
— not being frightened by new 
things but facing them 
enthusiastically. You embrace 
new things and try to control 
them to your own advantage." 

LANDSCAPE HAVE certainly 
achieved that with their 
distinctive brand of electronic 
pop. Last year's "great flood of 
lyrical material" has already 
yielded one successful single in 
"Einstein A Go-Go" which has 
paved the way for their new 
album "From The Tea Rooms Of 
Mars To The Hell Holes Of 
Uranus". 

As the title suggests, for all 
their seriousness Landscape are 
well able to temper their futurism 
with humour. "Einstein", though, 
has its serious side too. 
Musically, John wanted it to be 
"a catchy tune that would use the 
lyricon — which is really just a 
synthesiser that you blow — 
and show what it could do. I 
wanted to put the lyricon on the 
map as a pop instrument." 

The lyric came from reading 
Einstein's biography and thinking 
about how he'd become one of 
the few scientists who was a 



household name. With his 
theories of relativity he'd 
provided some of the basic new 
knowledge which made the 
atomic bomb possible. Then, 
when he saw the results of the 
bombing of Hiroshima during 
World War Two, Einstein became 
a campaigner for peace. 

The song, explains John, is 
about "someone who idealises 
Einstein, a loony with a moral 
mission who could easily unlock 
the power of the atom and 
destroy us all." 

The catchy little melody and 
the pied piper which John plays 
in the video have a grimmer 
message: 

"That's about those calm 
voices that tell you everything is 
going to be OK — you can build 
your nuclear shelter or paint the 
windows white and hide under 
the table — when it's obviously 
not going to be OK." 

Whether you picked that up 
from the lunacy of the video or 
not, it's not easyto deny "Einstein 
A Go-Go" 's success as a piece of 
eccentric yet hummable dance 
music. The unpredictability is a 
quality which John and his 
colleagues savour: 

"We're about to re-establish 
ourselves. Right from the 
beginning of the band we wanted 
to occupy a role in the scene 
where people expected us to be 
unusual, to do the unexpected 
and they'd like it." 

It looks as if Landscape are 
about to do just that. 



IS OKE HOUSC: 

NEW ALBUM & CASSETTE OUT NOW 



Featuring Shciky's massive hit singles! 
This Ole House' and^Marie, Marie «ii 

plus rBany..ottiergmat tracks IromlM 







Ifotfll love 
the change at 



WiUVMli 



And Wooico 



items subicxt ((I a\ .11 1, 1 hi III \' i'ric c^ ,iiul ,]\ ,iil,ibiln\- ot acKcrtisccl pr* x^iLicts m.iv be cliHcrcnl in 
N (II I her n iiel.nu! ilic Republic < )t lielanci .hkI the t h.iiinel Kl.iiuls 



4^' 



This 

OleHouM' 

EPC 84985 

] 40^985 




Einstein A Go-Go 

By Landscape on RCA Records 

You better watch out, you better beware 
Albert said that E = MC 

Einstein a go-go 
Einstein a go-go 
Einstein a go-go 

Bible says we must pay 

I am the judge for the judgement day 

There'll be no warning, no alarm 

I'll be the one who's saved 

Einstein a go-go 
Einstein a go-go 
Einstein a go-go 

I've got the facts, I know the truth 

You're ail corrupt, you're all depraved 

A few devices around the place 

I'll blow you all away 

God does not play dice with the world 

But things aren't right in the outside world 

There's filth and vice in the world 

I'll put things right 

Einstein a go-go 
Einstein a go-go 

You better watch out, you better beware (Einstein a go-go) 
Albert said that E = MC (Einstein a go-go) 

Repeat to fade 

Words and music by Walters/Burgess/Landscape 

Reproduced by permission Sunbury Music Ltd./ 

Landscape Music Ltd. 








-^i 




7 



M^^glM-i^^ 



[we DON'T NEED this] 
FASCIST GROOVE THANG 

By Heaven 17 on Virgin Records ' 

Everybody move to prove tb« groove 
Everybody move to prove the groove 
Everybody move to prove the groove 
Everybody move to prove the groove 
Everybody move to prove the groove 
Everybody move to prove the groove 
Everybody move to praMibe groove 

Have you heard it niiw news * 

About this Fescistgi>jp(i theng? 

Evil men with recii^i«iews 

, Spreading all acrpsidie land 

Don't just sit there on your ass 

Unlock that funky chain dance 

Brothers, sisters, shoot your bast 

Wa don't need this Fascist groove thang 

Chorus 
Brathan, tietata, we don't need that Facist groove thang 
Brothan, sisters, we don't need that Facist groove thang 

History will repeat Itself 

Crisis point, we're near the hour 

Counterforce will do no good 

Hot you ass, I feel your power 

Hitler proves that funky stuff 

Is not for you and me, girl 

Europe's an unhappy land 

They've had their Fascist groove tliang 

; Repeat chorus 

Democrats are put of power 
Across that great wide ocaaii 

Reagan's President elect 

, Fascist God in motion 
Generals tall him whatto do 
Stop your good time dancing 
Train their guns on me and you 

Fascist thang advancing 

^ Sisters, brothers, land a hand ' 
Increase your population 
/ Grab that groove thang by the throat 

And throw it in the ocean , 

You're real tonight, you move my soul 
Let's cruise out on the dance vyar ' 

Coma out your house and dance your dance 
Shake that Fascist groove thang 
• Shake it 

Repeat chorus to fade 

iVortfs and^nusie by H^arsh/Ware/Gregory • ; 

Reproduced by permission Dintoag LtdVSouud Oiagramt. 




on RCA Records 



Vacuum created by the arrival of freedom 
And the possibilities it seerris to offer- 
It's got nothing to do with you 
If one can grasp it 
It's got nothing to do with you 
If one csn grasp it 

A series of shocks, sneakers fall apart 

Earth keeps on rolling, witnesses falling 

It's got nothing to do with you 

If one can grasp it 

It's got nothing to do with you 

If one can grasp it 

Yeah, yeah, yeah, up the hill backwards 
It'll be alright, ooh-ooh 



While we sleep, they go to work 

We're legally crippled, it's the death of love 

It's got nothing to do with you 

If one can grasp it 

It's got nothing to do with you 

if one can grasp it 

More idols than realities, ooh-ooh 
I'm okay — you're so-so, ooh-ooh 

Yeah, yeah, yeah, up the hill backwards 
It'll be alright, ooh-ooh 

Words and music by David Bowie 
Reproduced by permission 
Bewlay Bros. Music/Fleur Music 



fi%S%% 



ACROSS 

..-S^owwowwow's labour 
^'6. foot many (Strange 

/inagram) (4,2,1,3) 
^Deadly offering from Iron 

Maiden 
»0 Torn Who? 
12 Song for two 
! 3 Madness talce one beyond 
14 Rod, Ed & Ami? 
l6Abba — TheLabei 

19 Price of atrial? 

20 & 16 The weeping boom from 
Liverpool (8,8) 

SrliVhereJn Phil Collins spends 

the night 
^K Tlte King's middle name 

24 Old iron or Trouble 

25 Express or Players from 
America 

2o&1ddown Cross-country 
bueklebuckers (S4!,5) 
.,27How many below zero? 



DOWN 

1 See 6 

2 Jane, Jane, Ramona and Kate 

3 Stray rockabillies 

4 A bat yodels fun (anag) (6,7) 

6 & 1 A single chance to do the 
Talking (4,2,1,8) 

7 Queen of the Wilde Frontier 
9 Star with a capital Dee 

11 Giving Sue the runaround 
K-l The Beat's message to 
Margaret (5,4) 
^ See 20 

1 7 Find the ballet in between a 
gasp and a unicorn 

1 8 Romeo and Juliet in dire 
tKkuble 

19 See 26 

i^3 A drummer in a Jam 



ANSWERS ON PACE 39 



@ a s E9a»5. m 



w w Debutaibum M 

Skin 'Em Up 

PZ QQ ORLESS ' ^ 

features the singk 

Take A Trip 

APPEARING AT TOE FOLLOWING VIRGIN 
RECORD STORES 

MARCH SATZSIh EDINBURGH -4pm 

MON 30th NEWCASIU- 1pm 

TUES31stSHEFFiaD-1|iiii 
APmWEDStst LEEDS- Ipm 

THURS2nil MANCHESTER -4|iin 

FRI 3nl UVERPOOL - 4pm 

MON 6th BIRMINGHAM -4pin 

TUES7thBRIST«H.-tpni 

WEDS 8th SOUTHAMPTON- Ipm 

WEDS 8th P0RTSM0UTH-4pm d 

THURS 9th LONOON.MARBLE ARCH- 1pm 

THURSSthLONOONOXFORDWALK -4nni 
AND AT SURPRISE LOCATIONS AU OVER TOWN 



10 





THAT'LL 
TEACHER 

ALL tS not quite what it should 
be in the Bowwowwow camp. 
Despite Malcolm Maclaren's 
declared cassette-only policy, the 
band have just released 
"W.O.R.K." on a 45rpm single 
and at the time of going to press 
their first ever national tour was 
In jeopardy. 

The problem seems to 
emanate from Malcolm's 
squabbles with EMI over the 
amount of financial backing the 
band need. Because Annabella is 
only 15 and therefore legally a 
minor she must be accompanied 
on tour by an approved tutor and 
Maclaren claims that EMI won't 
foot the bill for such an 
employee. 

EMI, on the other hand, seem 
to regard this current crisis as 



just another Maclaren tantrum 
designed to draw attention to his 
band and point out that 
Bowwowwow remain signed to 
the label and a new single will be 
released in a month's time. 



AS YOU'LL no doubt have heard, Bruce Springsteen's long-awaited 
British tour was postponed at the last moment due to Bruce's 
severe exhaustion at the end of a five month American tour. Ticket 
holders are instructed to retain their tickets and use them for the 
rescheduled dates in May and June. These are listed below, the 
original date followed by the new one in the brackets. 

Brighton, March 17th (May 26th); Wembley, March 19 (May 29); 
Wembley, March 20 (May 30); Manchester, March 23 (May 13); 
Manchester, March 24 (May 14); Birmingham, March 27 (June 7); 
Birmingham, March 28 (June 8); Edinburgh, March 30 (May 16); 
Newcastle, March 31 (May 11); Wembley, April 2 (June 1); Wembley, 
April 3 (June 2); Wembley, April 4 (June 4). 



"YOUNG JOBLESS ", the debut 
single from Martin Newell on the 
Liberty label, is an unusual item 
in that it was actually financed by 
the Government. To be more 
accurate it was paid for by the 
Youth Opportunities 
Programme, an official body 
which exists to help unemployed 
young people find careers. 

The Y.O.P. wanted a record 
which could be used to publicise 
the work they do and asked 
producer Kris Staines to oblige. 
He found Martin Newell, who 
had left home determined to 
make it as a musician but had 
ended up washing dishes. He 



AC HFPORTED in the last Bitz, 
AS RferU" ' '^" ti\acA Harrison 
Clem Burke »«<» JJ^Sf ' Vng a few 

DesBarres. The only o 
announced so far are 

rJnKdrL?:^^^" 

5th). 




wrote the song to order and an 
independent single was the 
result. This so impressed Liberty 
that they picked it up for wider 
distribution. 




ALL TIME TOP TEN 


1. TALKING MEADS: Remain In 


Nice Age (A&M). A great pop 


8. MARIANNE FAITHFUL: Ballad 


.aim^^^^ 


Light (Sire). My favourite album; 


song! 


Of Lucy Jordan (Island). The best 


^m^^A 1 


1 especially like "The Overload" 


5. ROXY MUSIC; Sentimental 


track on a Great Forgotten Album 




and all the rhythm tracks. 


Fool (EG). One of the hardest 


Of Our Time. 


^^H tKlk. ■ 


2. DAVID BOWIE: Win (RCA). 


decisions of my life, but "in Every 


9.SI0UXSIEANDTHE 


^^B wKk 1 


With the "Station To Station" and 


Dream Home A Heartache" is still 


BANSHEES: Israel (Poiydor). One 


^B mF*-'^» "' 1 


"Heroes" albums coming close 


my favourite title. 


of their many classic singles. 


■ m - 


behind. 1 also like "My Death" 


6. GIORGIO MORODER: The 


Great guitar sound. 


from a bootleg as well. 


Chase (Poiydor). Love the drum 


10. SPARKS: Tryouts For The 




3. BRIAN ENO: RAF (EG). How 


sound and the sequencer. 


Human Race (Virgin). Always had 


1^ mm^^^ 


did 1 narrow the Eno tracks down 


7. JOEL GREY: Mein Herr (ABC). 


a soft spot for Sparks and they 


P|PP|. ...imDj^^m,*'' 


to one? Probably because 1 like 


From the soundtrack of 


just managed to edge out Peter 




the sound of it — and Snatch are 


"Cabaret". Makes a change from 


Gabriel, Grace Jones, Syd 


NICK RHODES 


on it too! 


the rest of the raucous rabble; 


Barrett, Lou Reed, Kate Bush, The 


(DURAN DURAN) 


4. YELLOW MAGIC ORCHESTRA: 


reminds me of the bit in the film. 


Doors and Kraftwerk. 



11 




DRY RUN 



AFTER A long period of 
regrouping, Dexys IVIidnigiit 
Runners liit the road in April, 
unveiling their new line-up on 
"The Projected Passion 
Revue", a tour of seated 
venues with a difference. Dexys 
are stipulating that no alcohol is 
sold in any of the theatres on the 
tour because they apparently feel 
that it's better for fans to get 
their kicks purely from the music, 
rather than any artificial 
stimulant. 

Dates so far announced are: 
Edinburgh Odeon (April 4), 
Liverpool Royal Court Theatre 
(5), Hull City Hall (6), Birmingham 
Odeon (9), Doncaster Odeon (10), 
Ipswich Gaumont (11), Oxford 
New Theatre (12), Southampton 
Gaumont (13), Chelmsford 
Odeon (16), London Dominion 
(17), Brighton Dome (18), and 
Leeds Grand (19). 

Only two members, Kevin 
Rowland and Jimmy Patterson, 
survive from the original line-up 
with new members Seb Shelton 
(drums), Mickey Bellingham 
(keyboards), Steve Wynne (bass), 
Paul Speare (sax), Brian Morris 
(sax) and Billy Adams (gtr) 
bringing the line-up up to an 
eight piece. Original guitarist Al 
Archer, who remained when the 
rest of the band departed, has 
now also left, apparently under 
amicable circumstances. 



Joy Division: (left to rigtit) Steve 

NEW ORDER fans should be 
aware that the lyrics to 
"Ceremony" as printed on page 
26 are in fact as we could make 
them out from the record, since 
the band declined to provide any 
on the grounds that the lyrics 
shouldn't be separated from the 
music and everybody should 
make their own Interpretation. 
So, if anyone feels that they can 
improve on our interpretation, 
write your version down on a 
postcard and throw it away. 
The new member of New 
Order, by the way, is guitarist 
Gillian Gilbert, a friend of the 
band. "Ceremony" is also now 
out as a 12 inch with a longer 
version of "In A Lonely Place" on 
the reverse. The band plan to 
close the Joy Division story next 
month with a double album, half 
of which will be live 
performances and the other half 
hard to come by studio material. 



BREAKING RECORDS 



A FEW years ago Dave Stewart, 
keyboard wizard and veteran of 
several old wave rock groups, 
wouldn't have known a hit single 
if one had knocked him over. But 
now Dave's very modern version 
of the Jimmy Ruff in classic 
"What Becomes Of The Broken 
Hearted?" is heading rapidly up 
the charts. How come? 

"That's a long story," says 
Dave. "I was in a soul band at 
school called The Southsiders 
and we really liked the song but 
we couldn't actually play it." 

This of course was a long time 
ago; Ruffin's version first made 




FOR THE next question, disco fans, try this one. What's the connection 
between the following two statements? 

"I feel like a grandmother of the industry, just breaking out with her 
walking stick trying to shake a leg, trying to stay up before they knock 
her down." 

"When it comes to love, I'm the best. Now if your score is not too 
high, don't feel like you're letting me down, 'cos all you can do is try." 
The link, for anyone still blank, is Sharon Redd. The second quote 
comes from the song but she's probably not so keen on everyone 
knowing about the first one. I think she was exaggerating but it was 
just her way of saying that, after a few years in the biz, she's well 
chuffed to be riding the charts with "Can You Handle It?". 

Really it's her third time round. Sharon's artistic past combines a deal 
of music and a deal of theatrics. She was brought up in Norfolk, 
Virginia, and took part in the popular showbiz apprenticeship of 
classical voice training and church choirs. She won a talent contest in 
New York and began to make people like Lou Rawls, Patti Labelle and 
Helen Reddy remember her name. 

Then she held down the lead in the Australian version of "Hair" for 
two and a half years, followed by a TV show of her own there and — 
wait for it — some session work with Petula Clark. 

Meanwhile, Bette Midler was busy becoming the Divine Miss M in 
New York. She'd heard about Sharon, who by this time was a seasoned 
sessioneer, and called her up. What followed was five years as one of 
Bette's three backing singers. The Harlettes. 

The Harlettes were offered a deal of their own but what seemed like a 
good idea at the time didn't work out. 

"We were not R&B," Sharon explains. "We were a theatrical group. 
The selection of songs was good but when the music was mixed we 
sounded so removed from the music itself." 

Sharon kept on at the session work and last year sang the vocal on a 
one-off disco cut called "Love Insurance". It passed the time, she 
thought, and it was worth a bob or two. In fact she hated the record 
but, under the banner of Front Page, it became top three in the 
American discos. 

Sharon was offered a follow-up but by then Prelude Records, home of 
Bobby Thurston and Gayle Adams, were waving money and contracts 
at her. Within minutes of releasing "Can You Handle It?" as the first 
single she knew she was on to something. The album is out this month 
but Sharon knows how fly-by-night most disco artists are and is deter- 
mined to be more than that, so listen out for something different next 
time. 

Paul Sexton 



the Top Ten in 1966. 

"Then about eighteen months 
ago I listened to it again and on a 
whim I made a demo of it at 
home." 

Dave, who was once voted 
Best New Talent by 
Contemporary Keyboards 
magazine, doesn't sing quite as 
well as he handles the keys so he 
got his old mate Colin Blunstone 
to do the vocals and started 
touting the single round the 
record companies. Each one 
turned him away, and one went 
so far as to declare that "This is 
not the version to put the song 
back in the charts." 

Finally Dave made an 
arrangement with Rough Trade 
to put the song out on his own 



Broken Records label. It was 
released in December without 
any advertising or promotional 
push and didn't do much until 
late January when Dave mailed it 
out to Radio One DJs. 

"I went off to America just 
after that and while I was away 
all the record companies were 
going crazy trying to get hold of 
mel" 

Rough Trade generously 
allowed him to negotiate with 
bigger companies and on 
February 20 the single was 
picked up by Stiff. All this sounds 
very unlike a former hippie but 
Dave is far from being a 
long-haired, blue-jeaned bore. 
He's a very down to earth and 
entertaining guy who, to judge 




r . . . sorry, but did you say I should buckle my swash or vice 
versa? Don't worry, I'll get it sorted out in no time." Gary Tibbs is 
issued his Ant uniform. 



THE FOURTH long player from 
PiL, "The Flowers Of Romance", 
is released by Virgin on April 
10th. Already out is a single of 
the same name. The album, a 
studio recording, shares the 
name with the short-lived early 
punk band which the late Sid 
Vicious was a member of. All 
instruments are played by 
Johnny Rotten, Keith Levene and 
Jeanette Lee with former 
member Martin Atkins 
contributing drums to three 
tracks. 



by the single's B side, "This Is My 
Reward", has a good ear for a 
catchy tune. 

Both sides of the single feature 
synthesisers and the Intro to 
"What Becomes" sounds like 
Gary Numan at 33rpm but Dave 
stresses that he's not trying to 
copy the current wave of 
synthesiser players. 

"I think they're awful. 
Rhythmically they're so stilted." 

As well as putting out 
miscellaneous recordings like 
this one, Dave is busy writing 
and touring with his new band 
Rapid Eye Movement. Spurred 
on by his fondness for 
synthesisers and by the 
acquisition of an electronic 
drumkit, Dave is currently 



TAYR IT UP 

THE PROBLEM with fanzines is 
that all too many seem to have 
been put together with more 
enthusiasm than imagination 
and reading them can be a rather 
dull way of passing the time. 

A fanfare then for "Tear It Up", 
the second issue of which 
winged its way from Ayrshire 
recently and impressed all who 
perused it. Although its style and 
lay-out are no different from the 



re-thinking tfie group's style. 

"It's still basically 'melodic 
rock' but compared to my past 
it'll be simpler, more direct and 
more electronic, with some crazy 
instrumentals as well." 

Dave is also still nominally 
keyboards player with Bruford, 
another band more noted for its 
musicianship than entertainment 
value, and he also plans to make 
a solo album this summer, using 
REM on some tracks. When I 
spoke to him, Dave was also 
looking forward to a new 
experience — making a Top Of 
The Pops video. Times have 
certainly changed for David 
Stewart. 

Tim de Lisle. 



FAITH 
HEALING 

THE CURE have announced a 
tour to support the release of 
their third album, "Faith", on 
April 17th. Atall the venues with 
the exception of Brighton, the 
support "act" will be a film called 
"Carnage Visors" which the band 
have made themselves. 

Dates are as follows: Aylesbury 
Friars (April 18th), Poole Arts 
Centre (20), Portsmouth Guildhall 
(21 ), Brighton Top Rank (22), 
Oxford New Theatre (23), 
Swansea Brangwyn Hall (24), 
Taunton Odeon (25), Reading 
Hexagon (26), Canterbury Odeon 
(27), Ipswich Gaumont (28), 
Plymouth Polytechnic (May 1 ), 
Bristol Colston Hall (2), 
Birmingham Odeon (3), 
Hammersmith Odeon (4), Derby 
Assembly Rooms (6), Manchester 
Apollo (7), Sheffield University 
(8), Leeds University (9), 



H\ 




Liverpool Royal Court (10), 
Leicester De Montfort Hall (11), 
Norwich St Andrews Hall (12), 
Glasgow TIffanys (14), Aberdeen 
Capitol (15), Edinburgh Odeon 
(16), Newcastle City Hall (17) and 
Middlesbrough Town Hall (18). 



other broadsheets around, what 
distinguishes "Tear It Up" is the 
quality of the writing and a 
healthy, self-mocking sense of 
humour. (It also writes a good 
grovelling letter.) 

Contained in issue No. 2 are 
features on New Order, comic 
actor Buster Keaton, Boots For 
Dancing and an excellent 
interview with John Peel which 
actually manages to extract a 
few new anecdotes from this 
much-interviewed man. You can 
obtain "Tear It Up" from 8, 
Birkdale Close, Kilwinning, 
Ayrshire, tot a mere 50p (incl. 
p&p). 

"Rising Free", a 'zine which 
concentrates mainly on punk and 
skinhead outfits, is also on to its 
third issue, copies of which are 
available from Gez Lowry at 36 
Wilbury Way, Hitchin, Herts SG4 
OAP, for 30p plus a 14p stamp. 
Amongst some rather disposable 
live "reviews" you will^find 
useful interviews with Stiff Little 
Fingers and The Angelic 
Upstarts. 




FULL NAME: Nashville 

Thebodiah Slasher 

BORN: March, The Barrens, 

Canada 

STAGE NAME: Nash The Slash 

FIRST RECORD PURCHASED: 

"High School Confidential" by 

Jerry Lee Lewis 

FIRST LIVE SHOW ATTENDED: 

Igor Stravinsky conducting the 

Toronto Symphony Orchestra 

PREVIOUS BANDS: Breathless, 

FM 

PREVIOUS JOBS: Hunting down 

Eskimo War Criminals, Shepherd, 

Record Company Executive 

MARRIED OR SINGLE: Cloned 

CHILDREN: Drum machines 

LOWEST POINT OF CAREER : 

Discovering people take this 

business seriously. 

PROUDEST ACHIEVEMENT: 

Filling out this form 

HERO: Norman Bates 

DESERT ISLAND DISC: No music 

please! 

FAVOURITE ITEM OF CLOTHING: 

Bandages 

FAVOURITE BREAKFAST FOOD: 

Cold pizza 

FAVOURITE BOOK: "Something 

Wicked This Way Comes" by Ray 

Bradbury 

FAVOURITE FILM: "Holy 

Mountain" by Alexandro 

Jadorowski 

FAVOURITE BAND: The Who 

FAVOURITE SONG: (at present) 

""Requiem" by Killing Joke 

PET HATE: Swill 

BIGGEST MISTAKE I EVER 

MADE: Eating swill 

FAVOURITE FANTASY: Telling 

the moral majority to ""eat swill'" 

TRUE CONFESSION: I do not 

grow old. I just get closer to death 



WINGS SCh 



ccra 



"ROCK SHOW", the Paul McCartney and Wings feature film, will be 
opening in London on April 9th, the day after it is premiered in front of 
assorted minor royals at the Dominion Theatre. The film is based on a 
concert that the band played in front of 70,000 fans at the King Dome in 
Seattle in 1976. 



In the second part of our four part series on the individual members of The Jam, Mark 
Ellen talks to Bruce Foxton about creativity and criticism, job satisfaction and being normal. 

BRUCE 



i i I I EROES? I don't know 
■■I what the word means. 
I I It's something I still 
find hard to comprehend. When 
we do gigs. It's not so much the 
people who want to chat to you 
— 'cos that's g reat — but the fa ns 
who just want to touch you, who 
really Idolise you just for being in 
a band and don'ttake that any 
further. I still can't really believe 
that people can get so obsessed 
with someone. 

"It's nice in that it shows you're 
popular but there's never been 
anyone that I've felt that way 
about. That's definitely not a case 
of modesty — I've just never felt 
that way inclined about 
anybody. " 

That, in a way, sums up the two 
most endearing facets of Bruce 
Foxton — his unshakeable 
single-mlndedness and an 
almost overwhelming tendency 
to be self-effacing. 

Twenty-five years old (six of 
them devoted to The Jam) and 
both the Foxton ideals and way of 
life have remained virtually 
unchanged. In fact, his 
conversation is so liberally 
peppered with phrases like 
"nothing drastic" and "nothing 
spectacular" that you almost 
forget how much Bruce's 
formidable talents as a bassist, 
writer and arranger have helped 
to forge The Jam's distinctive 
soundtrack. 

"There's nothing really exciting 
about me," Bruce will plead 
defensively, as if this was a 
criminal offence. "I don't think 
I'm boring but I don't imagine the 
sort of lifestyle I lead would 
interest that many people. I'm 
just pretty normal. My life could 
be the same as, y'know, Joe who 
knocks off at five at the 
ironworks . . ." 

BRUCE'S PRE-JAM teenage 
years he describes as being 
"pretty sheltered". Not that they 
were uneventful — just that he 
agrees with Rick Buckler that his 
home town of Woking is hardly 



the action-packed capital of the 
Southern Counties. 

Schooldays — spent at 
Shearwater, along with Rick and 
Paul (though he only met them 
later) — were spiced with trips, 
discos, clubs, occasional football 
matches and raids on his 
brother's Motown collection. He 
also kicked around with various 
bands of the "heavy metal type" 
which rarely got past the drawing 
board stage, with the exception 
of the never-legendary Rita who 
rehearsed for two solid years 



('71/'72) but hardly took the town 
by storm. 

Dr. Feelgood, Bruce 
remembers, were a worthier 
cause than most at the time. 

"They were just so basic and, 
well, I wouldn't want to use a 
word like 'relate to' but they just 
seemed like normal people and 
there was none of that 'star bit'. 
And they looked really 
committed to what they were 
doing." 

Rita clearly weren't about to 
save the world so Bruce fairly 







leapt at the chance to audition 
with the newly-spawned trio of 
Buckler, Weller and one Steve 
Brooks (guitar). Events were 
being held, as it happens, in 
Paul's bedroom. 

"I wasn'ttoo sure about it," 
Bruce recalls. "I mean , one 
minute I was playing heavy metal 
and the next — pop songs. So I 
went away with this other band 
who never got any gigs and I got 
so cheesed off that I decided to 
give it a go. 

"And as it happens," he adds, 
ever the master of the 
understatement, "it's turned out 
really good!" 

BRUCE HAS never been one to 
underestimate the importance of 
pop music or the fact that he's in 
a responsible position. 

It's also pretty clear that Bruce 
hasn't got that many interests 
outside of the rock 'n' roll world. 
He likes films — "loved" The 
Elephant Man but "hated" Flash 
Gordon ("I know it's a joke, but 
it's not a very good onel") He 
also adores English food but his 
only recent real diversion outside 
The Jam has been his brief 
management involvement with 
The Vapors. 

Bruce and his partner John 
Weller (Paul's dad and The Jam's 
manager) decided to give the 
band a break "just because I 
know that we'd have loved to 
have been given that kind of 
opportunity a few years ago." 

"They're a great band," is 
Bruce's simple explanation. 
"They've got some great 
numbers — and they're young. 
Well, apart from Dave (Fenton) 
who's knocking on a bit. In fact, 
he's even older than mel 

"I don't think I could get away 
from the music though," he 
announces suddenly. "There's 
nothing else I'd like to do. In fact, 
within The Jam itself, I'd like to 
contribute more than I do. I don't 
mean I'm just going along 
earning a wage and getting a free 

Continues over the page 

15 



From previous page 

ride, so to speak. It's not that at 
all. It's a more personal thing. I'd 
just Mice to contribute more 
songs. 

"But then again," he laughs, 
"I've said that time and time 
again, and I'm st/// saying it and 
notdo/ngit!" 

Has there been a time when 
Bruce has felt like packing it all 
in? 

"Well, yeah, you can get down 
all the time if you let yourself. 
You can get to the point where 
you think, say, we're not doing 
anything in America so we might 
as well give up. But I just think 
that as long as you've convinced 
yourself that you're getting 
somewhere and there are still 
places that want to hear you, then 
it's worth going on doing it." 

Does it still matter as much that 
The Jam haven't cracked 
America? 

"It did at one point. But there's 
only so much you can do. We've 
been over there fourtimes now 
— I mean, we've given them a 
chancel — and we haven't 
changed our policy at all. 
Obviously we've been 
approached to do that but it Just 
isn't worth it. So you get a bit 
disillusioned. 

"But then again, we went to 
Japan and it was really good, 
although that's a bit harder to 
gauge. They went crazy over us 
but we weren't sure why. You're 
not sure if they'd do the same to 
Thin Lizzy the next week and 
Jethro Tull the week after." 

Is there anywhere that you 
haven't played yet that you'd like 
to? 

"We've instigated trying to get 
into Russia but I can't really see it 
coming off. People have gone to 
the Embassies to try to sort 
things out but I haven't heard the 
results yet. 

"Mind you," he grins, "once 
they start delving into our lyrics 
etc. maybe they'll definitely say 



THE JAM have never been a band 
you could call "enigmatic", but 
there was certainly a time when 
the band had to dodge a shower 
of conflicting labels. To their 
eternal credit, none of them 
seemed concerned about his 




being pigeon-holed and then 
expected to conform to it in 
public. 

"In the early days," Bruce 
points out, "you got this 
impression — because we never 
smiled in photographs — that we 
never enjoyed ourselves. We do 
enjoy ourselves! Just 'cos we 
don't smile for every photograph 
it doesn't mean we're a bunch of 
miserable bastards! 

"I mean, I never put myself out 
like Geldof who puts himself up 
on a pedestal and then has an 
image that he's got to live up to. 
And then has to put on another 
show for the papers or 
whatever." 

Maybe Geldof wants 
something different from the 
music business than Bruce does? 

"Yeah, right. I'm knocking him I 
suppose but I hope he really does 
want all that and he's not just 



16 




doing it to satisfy some fantasy or 
other." 

So what does Bruce find 
satisfying about The Jam? 

"Money comes into it for a 
start, but I suppose mainly it's 
doing something that you're 
actually creating in the first place; 
the fact that you're not just part of 
something like a production line. 
You're actually creating 
something and making a success 
out of it." 

Bruce wears the look of 
someone who's been up this 
road before. 

"I know — it sounds a bit like 
'How To Become A Rock'n'Roll 
Star' or something. But that's 
honestly the most enjoyable part. 
That's why I do it. You get a lot of 
worrying sometimes, like with 
any job. Like coming up with an 
album, or a single, or just 
basically songs full stop." 

Did you ever really take any 
criticism to heart? 

"Yeah. It did us a lot of good to 
be criticised around the 'Modern 
World' time. Looking back on it, I 
think maybe it was a bit too harsh 
but it made us take more time 
over what we were thinking 
about and what we were putting 
out." 

Did it ever matter to Bruce that 
he wasn't the focal point of The 
Jam? 

"No, it didn't matter at all. It's 
never worried me. There's never 
been that sort of animosity 
between us. Y'know, like who 
should be in the limelight. If there 
was, then Paul would be the first 
to say 'you can do this interview' 
or whatever. 

"But you'll find invariably that 
whether Paul or Rick or myself 
does an interview, we say more 
or less the same things about the 
group because we have more or 
less the same feelings. We sort it 
all out before we do something. 



Then, if there's a mistake, it's a 
mistake made by all of us. 
Nobody's perfect." 

OUTSIDE OF the band, the three 
members of The Jam all have 
very different opinions. The 
problem is, Bruce says, that after 
living in each others' pockets on 
tour for a while they need a break 
from each other, but that 
sometimes endangers the feeling 
of closeness that The Jam 
depend on as a creative force. 

"You do tend to drift apart, but 
that's something we're trying to 
rectify. It's bad to lose that 
personal thing between you." 

Then it becomes less like a 
band and more like a business 
arrangement? 

"That's right. It's weird. You 
don't want it to but it does, and 
then you need a break. You can 
lose that one-of-the-lads feel, 
that kind of all-going-down-the- 
pub-together thing. It's really 
awkward to explain." 

I put to Bruce that the older you 
get in the music business, the 
fewer jobs seem to be available. 
What would be the alternatives to 
being in The Jam for him? 

"Well, there's always 
producing. I mean, the only other 
occupation I've ever had was as a 
printer and there's no way I'd 
want to go back to that. I did a 
five year apprenticeship. I left 
school when I was fifteen not 
really knowing what I wanted to 
do. 

"Actually, that seemed a good 
job at the time but unfortunately 
everybody who was telling me 
about it was referring to Fleet 
Street which is slightly different, I 
should imagine, wage-wise. I had 
to deal with all these scientific 
formulas and equations. It was 
really boring. There's no skill in 
printing anymore. It's the same 
old story — technology takes 
over. So boring. 

"So you can imagine," he says, 
allowing himself an ear-to-ear 
smile, "that The Jam getting a 
break was most convenient!" 

But if The Jam did end? 

Bruce shrugs his shoulders. 

"I mean, our schedule's 
planned up until May, June, with 
tours and recording. Further than 
that, who can tell?" 




Well, Anne is pretty neat 
She always eats her meat 
Joey's awful strong 
Bet your life he's putting us on 

Chorus 

Oh lawdy, oh lawdy 

You know I need some loving 

Move me 

Touch me 

John, I'm only dancing 

She turns me on 

But I'm only dancing 

She turns me on 

Don't get me wrong 

But I'm only dancing 

Ah, back street love is quick and clean 
Life's a well thumbed machine 
I saw you watching from the stairs 
You're everyone that ever cared 

Repeat chorus 

John, I'm only dancing 
She turns me on 
But I'm only dancing 
She turns me on 
Don't get me wrong 
But I'm only dancing 



Words and music by David Bowie 
Reproduced by permission Chrysalis 
Music/Mainman Ltd 



The No.1 U.S. 
Single m 




iMf 'ilH ■«•! 



ih^ ^^ 



^^w 



out now on 



»o44 



.T#;en from tteVjo.1 U.%gi3um/cassette 111 INfiPELITMh April 




Tender force 



Nao Single Out now 

Available in 7" & 12" Versions 

Taken from the forthcoming album 

Le Mieux de Space 



ProdumiiiivMtan air of Ronwuce. 



Attention To Me 

By The Nolans on Epic Records 



If I get on up and dance for you jj igi |i 

Scream and shout like a witch will tffi « j si 

Would you give a little bit, uh-huh 

Give a little bit of attention to me, uh-huh 

If I dress on up in fancy clothes with a come-on smite 

And a real nice pose 

Would you give a little bit. uh-huh 

Give a little bit of attention to me 

Yeah, baby, baby 

Well, I'm tired of getting through to you 

It ain't no good 'cos I just can't do enough s || 

I can't do enough 

Well, I'm always here when you want to play 

But then you walk away when I need your love 

I need your love 

I don't wanna be a star attraction, just need some action 

So come on baby, can't you see? 

All I'm asking for is a little attention to me. yeah, yeah, yeah, yeah 

If I walk right up with another guy 

Come on now, boy, won't you turn your eye? 

Would you give a little bit. 

Give a little bit of attention to me, oh-oh yeah 

Are you listening, baby? 

Attention to me, pay attention to me 
Attention to me, pay attention to me 

Oh, I don't wanna be a star attraction, just need some action 

So come on, baby, can't you see? 

All I'm asking for is a tittle attention to me, yeah, yeah, yeah, yeah 

If I get on up and dance for you 

Scream and shout like a witch will do 

Would you give a little bit, uh-huh 

Give a little bit of attention to me, oh>oh 

If I dress on up in fancy clothes with a come-on smile 

And a real nice pose 

Would you give a little bit, uh-huh 

Give a little bit of attention to m*(^3|2|;3yS3:JM^ 

Attention to me, pay attention to mi ■' 

I said, wont you give a little bit (give a little bit now), uh-huh 

Give a little bit of attention to me 

Attention to me, pay attention to me 

Repeat and ad lib to fade 

Words and music by Findon/Myers/Puzey 
Reproduced by permission Black Sheep Music Ltd. 



18 





Capstick Comes Home 

By Tony Capstick & The Carlton Main/Frickiay 

Colliery Band 

I'll n«var forgot that first d«y at f pit. Ma and ma fattiar worfcad a 72 

liour iltift and ^an wa walicad homa 43 mila ttirougli f anow In us 

bare fa«t, huddiad tnslda us clothaa mada out of old sacks. 

Eventually we trudged over fhiii ufrtil wa could see t'straot light 

twinlcling in our village. My father smiled down at me through 

icicles banging off his nose. 

"Nearly homa now, lad," he said. 

We stumbled into f iiouse and stood there freezing cold and tired 

out shivering and miaerable in front o't'meagre fire. Anyroad, ma 

mam says, "Cheer up lads, I've got you some nice brown bread and 

butter for yer tea." Eeh, me father went crackers, if e reached out 

and gently pulhKi me mam towards him by t'throat. 

"You big fat idle ugly wart" he saM. "You great useless 

ipawny-eyed parrot-faced wassock". 

He had a way w'words, me father. He'd been to college, y'know. 

"You've been out playing bingo all afternoon instead of getting 

some proper snap ready for me and this lad", he explained to me 

poor little purple-faced mam. Then, turning to me, he said, 

"Arthur" — he could never rameml»er me name — "Here's half a 

crown, nip down to chip oil and gerrus a nice piece o'haddock for 

us tea. Man cannot live by bread alone". 

He were a right tater, me father. He said as how working folk 

should have some dignity and pride and self respect and as how 

they should come home to summat warm and cheerful And then 

he threw me mam on f fire. 

We didn't have no tellies or shoes or iiedciothes. We made us own 

fun in them days. Do you know, when i were a lad you could get a 

tram down into t'town, buy 3 new suits and an overcoat, 4 pair 

o'good boots, go and see George Formby att'Palace Theatre, get 

blind drunk, have some steak and chips, a bunch of bananas and 3 

stone o'monkey nuts . . . and etiti have change out of a farthing. 

We'd lots of things in them days we haven't got today — rickets, 

diptheria, HHIer. And, boy, we did look well going t'school wl' no 

backside in us trousers and all us little heads painted purple 'cos 

we had ringworm. 

They don't know they're itorn today. 

Words and music by Capstick/Dvorak, arr. Drake Rimmer 
Reproduced by permission Tyke Music Ltd. 



E^ry 
which 

way 



w^m 



At W.H.Smith a pack of 
three Memorex 
MRX3C90 tapes will 
only cost you £3.95. 
ffMBi A saving of 85p on 
three tapes bought 
separately 
And that's not a 1 1. There's 
an exclusive competition on 
each pack. 
Enter and you could win up to £1,500 
from the £5,000 worth of W. H. Smith gift voucher prizes. 
(See pack for details.) 
Whichever way you look at it you can't lose at W. H. Smith. 

WHSMITH ^ 

^™ Subjecttoavailability while stocks last, where you see this sign. ^ 
Ej Pricescorrectattimeofgoingtopress. ^^ 




19 



^.s^^^ 



^ifcC®^ 



'i 



^t 



APRIL is certainly not a month for 
slouches. The seasonal surge in 
record releases also provides the 
prospect of some all too rare live 
appearances and the chance for us 
hard done by funk fanatics to see 
the real thing for a change. 

Speaking of The Real Thing 
(what a link up), they just happen to 
be one of the acts appearing this 
month. Starting at London 
Lewisham Concert Hall on April 4, 
they then proceed on a short tour of 
the country (see Gigz for details). If 
you're a Brummie and an Odyssey 
fan then you'll be pleased to hear 
that they're doing three nights at the 



wonderfully originally named Night 
Out, starting April 2. Let's hope 
you can get in. 

Still on the subject of live gigs, I 
was lucky enough to catch Freeez at 
London's The Venue a couple of 
weeks back. Despite their only 
having one hit single, the place was 
packed to capacity and it was more 
like an all nighter than a rock venue. 
The band showed themselves to be 
very mature — most of the material 
was a little too laid back for my 
liking — but there was a 
tremendous reception for the single 
and a continuous chant of "Woah! 
Woah! Woah!" all night long. A 
great night out. 

The Venue's interest in funk has 
been well and truly stimulated by 
the reception to Freeez, and on 
Easter Monday (April 20) they will 
be holding an all dayer from 2pm to 
12am. Guest appearances by top 
soul stars are promised, and tickets 
are priced at £3.50. Brit-funk is 
definitely here to stay, and I'm sure 
it will grow and develop as more and 
more young British bands are 
inspired to have a go. 

Seeing as how my slave-driving 
editor has demanded my column 
early this time (due to our 
promotional schedules), there 
aren't so many records to review. 
The best of those around is "Praise" 
by Marvin Gaye (Motown) which is 



disco top 40 

« TITLE/ARTIST 1AB1L__?!M- 



3 ITS A 10VETHIN6 Whispers 
6 INTUmOW Linx 

4 GET TOUGH Kleeer 

1 SOUTHERN fBEEEZ freeez 




11 lOVEISBnHWABEONYOU BSIDERrefly 



16 LATELY Stevie Wonder 



7 7 CAWYOUfEEI'TTheJacksons 

« 8 JONES VS JONES K00I81 The Gam 



5 CAN YOU HAWDIE IT? Sharon Redd 



19 HIT W BUM tOVEH Carol Jian 



11 NEW TI ME lii |ht Of The World 



12 2 (SOMEBODYIHEIP M E OUT Beggar & Co 

13 12 PARADISE Change 

M 30 JIT TEHBUSB'W Hi. 

15 NEW GOno THING G0W 6 Super Minott 

1g NEW Al NO CORRIDA Quincv Jones 




his first single since "Ego Tripping 
Out" in 1979. The track has been 
remixed and edited and is almost 
totally from the version on the "In 
Our Lifetime" album. The flip side 
"Funk Me" (also on the album) has 
been toned down for release as 
Marvin apparently did not wish to 
offend anybody. 

Level 42 have already had a 
couple of minor hits with "Love 
Meeting Love" and "'Wings Of 
Love". This time they're hoping for 



bigger things with their new one, 
"Love Games" (Polydor). (Can 
anybody spot the likeness in the 
three songs?) Although it didn't hit 
me immediately, the track is a 
definite grower and easily the best 
thing they've done so far. The band 
gig constantly, and if every fan 
bought a copy Level 42 could find 
themselves at the Top 20 level! 
Good luck to them. 

Beverly 




-ITS A LOVE THING 

ON SOLAR RECORDS 

K's a love thing 

It's a love thing 

It's a love thing (thing) 

The look in your eyes is more than enough 

To make my poor heart burst into flame 

Yoil thought the moment we met that there was no doubt 

That my life would never be the same 

Lit* could never have this feeling that comes over me' 

Whan you're near me I thought that's how it's supposed to be 

My heart is telling me 

It's a love thing, yeah 

Got me talking in my sleep 

'Bout the love you made 

It's a love thing (it's a love thingi 

Love thing (thing) 

Such a feeling i get whenever we touch 

You're like no other I've felt before 

It's just so new and yet I need you so much 

And to make you mine forever more 

You're the kind of woman that can turn my world around 

'Cot you show me what unselfish love is all about 

It's a love thing, yeah 

I fMl that pounding in my heart when you call my name 

It's a love thing (it's a love thing) 

Love thing (thing) 

It's a love thing 

Every time that you're near, it becomes so clear 

It's a love thing (it's a love thing) 

Love thing (thing), yeah 

It's a love thing 

I feel that pounding in my heart when you call my name 

It's a love thing (it's a love thing) 

It's a love thing 

Life could never have that feeling that comas over me 

Whan you're near me I thought that's how it't supposed to be 

My heart is telling me 

It's a love thing, yeah 

Got me talking in my sleep 

About the love you made 

It's a love thing (it's a love thing) 

It's a love thing 

It's a love thing (love thing) 

You've been deep in my heart, looking right from the start 

It's a love thihg (it's a love thing) 

Love thing (thing) 

Love thing 
K's a love thing 

Words and music by Shelby/Meyers ' 

Reproduced by permission Chappeii Music Ltd. 



COMPUTER GAME! 



FED UP with the rubbish they push out on the telly? Fancy putting 
that goggle box to better use? Fancy using it to play games on? 
Well, you've come to the right place because we're offering a video 
games computer as the prize in our latest competition. Once this 
nifty machine is plugged into your set and one of the (two) 
cassettes slotted in, all you and your friends have to do is grab the 
controls and start playing a variety of fascinating games of skill, 
complete with sound effects and all. 

You can start by answering the questions below. These all concern 
PiL, the band whose latest ^Jbum, "The Flowers Of Romance", will 
be winging its way to the ? 5 lucky runners-up. Check 'em out, set 
your answers down on a postcard with your name and address and 
mail it to Smash Hits PiL Competition, 14 Holkham Road, Orton 
Southgate, Peterborough PE2 OUF to arrive no later than April 1 5th. 
The first correct entry out of the bag on that date will win the video 
computer and PiL records will go to the twenty five runners-up. 
Eyes down. 

1 . What do the letters PiL stand 
for? 

2. The second PiL album was 
initially issued in an unusual 
package. Name the album. 

3. Flowers Of Romance was once 
the name of a band that featured 
a member of The Sex Pistols. 
Which member? 

4. Name PiL's last full time bass 
player. 

5. PiL's last long player was 
recorded live in which European 
city? 





.^ 




12 inch 4 track single 

Eye of the Lens, Another World, 
Gone and At Sea 
also 7 inch 2 track single 
Eye of the Lens and At Sea 

Produced by Peter Wilson and the Comsat Angels 

Comsat Angels appearing at the Sundown 
Charing Cross Road,Tuesday 7th April. 

|d.^o.| 




By Red Starr 
singles 

DAVID HENDERSON used to be involved 
with Simple Minds, putting tapes 
together in their early days. These days 
he has his own Hellfire Club studio in 
Glasgow and the first two resulting 
releases are now out. 

The Dreamboys provide us with "B6la 
Lugosi's Birthday" (St. Vitus Records), 
coupled with "Out6r Limits" and "Sh^lle 
We Dance". The band haven't really got 
beyond recycling their influences yet 
(mainly the dark insistence of Joy 
Division) and are occasionally affected 
(e.g. spellings) but there are a couple of 
tieat trades here with some good guitar 
work and this is certainly worth having. 
(Contact: SAE to c/o Murray, 30 Kersland 
Street (t/r), Hillhead, Glasgow). 

The Poems' "Achieving Unity" (Pollta 
Records) is more of a struggle, being in the 
determinedly experimental vein. An 
insistent, tribal beat with an impressionist 
instrumental building around it with a 
sprinkling of intrusive noises and rattles for 
good measure, but let down by obscure 
imagery and dull, unconvincing vocals. I 
can't help wishing they'd relax and let go a 
bit more. Interesting packaging though 
(Contact: SAB to 39/101 Glen Affric Drive, 
Darnley, Glasgow.) 



TWO NEW singles have seen the light of day 
from Glasgow's excellent Postcard Records. 
First up is Orange Juice's "Poor Old Soul" 

and really good it is too. Powered along by 
an energetic rhythm, it's a very cleverly 
constructed song with a great melody well 
handled by Edwyn Collins' distinctive 
quavery vocals. It also boasts a well judged 
arrangement which shows up the best of the 
song while sensibly shunting the band's 
amateurish side well to the rear. The 'B' side 
offers another version of the same song. 
Miles ahead of their last two releases and 
well worth anybody's money. 



Cabaret Voltaire: (left to right) Chris 
Watson, Stephen Mallender and Richard Kirk. 



Still in Glasgow but in a different league 
altogether are Positive Noise. A 7 inch 
showing off their two main influences, 
"Ghosts" (Joy Division) and "Give Ma 
Passion" (Magazine) is already high in the 
charts but now comes a 1 2 inch (also on 
Statik) with an extra track, "End Of A 
Dream". This displays their third — and by 
far the best — side, the raw, tribal style like 
Adam on overdrive. Great stuff. (Contact: 
SAE to c/o Fast Product, 3/4 East Norton 
Place, Edinburgh 7.) 



The second Postcard release is "Just Like 
Gold" from East Kilbride's Aztec Camera. An 

amazingly mature debut from a sixteen year 
old writer, this urgent, personal message has 
an attractive folksy, almost American feel to 
it thanks to the addition of shimmering 
acoustic guitars. Only a rather untogether 
arrangement stands between this strong 
song and sheer excellence, and the same 
fault reduces the 'B' side "We Could Send 
Letters" to a one dimensional canter. A 
worthy purchase, however. 

(Contact for Postcard: SAEto185 West 
Princes Street, Glasgow 4.) 




ire: (left to right 

ivens, writer Ro 

Oavid Mulholland. 






EDINBURGH'S Joseph K would normally 
surface Qn Postcard Records but a brief visit 

, to Brussels earlier this year saw them laying 
down "Sorry For Laughing"/"R6v6lation" 
'for Les Disques du Crepuscule, a small but 
select Belgian outfit run by the same people 
who are Factory Benelux. "Sorry For 
Laughing" is one of Joseph K's best songs, 
featuring a good .melody that hustles 
forward on hard, acoustic rhythms and has a 
noticeably more optimistic and less weary 
atmosphere than before. The 'B' side, alas, 
reverts to the nervy, frantic approach 
does their fine songs less than justice. 

Also newout on the same label isa 12 inch 
of "Sluggin'Fer Jesus" from Cabaret ' 

Voltaire. This features a snappy synthesised 
rhythm track over which snatches of an 
American radio broadcast and the band's 
pustomary electronic improvisations are 
Interwoven to good effect. The 'B' side 

"Contains two tracks, "Agent Man" — a 
slower, spacier, satirical song — and part 
two of "Sluggin' Per Jesus" where the 
broadcast, which seems to be independent 
and anti-church and anti-right wing 
establishments, starts out clearly and 
gradually succumbs to waves of electronics. 
A good, arresting release. 

Among the other recent releases via this 
fine label have been Bill Nelson's "Rooms 
With Brittle Views", an upfront piece of 
electro-pop with.mixed imagery and 
Skids-type chanting chorus, coupled with 
"Dada Guitara", an instrumental with 
Nelson's melodic, stylish guitar winding in , 
and out of a rhythm box and synthesiser 
effects. It also has at least two different 
picture sleeves. 



independent singles top 30 




independent albums top 10 



_:__HCWHO DAM S WIMS Thealre Of HalB 

1 OmKWtAllSWHrrE SOX Adams The <nls ' 

2 CLDSEa Joy Division 



6 TOYAH! TOMHI TOYAHI Tovah 
4 STATIONS OF THE CRASS Cras. 



UWKMOWM PIEASURES Joy Di»ision 
SIGMIHG OFF UB40 



i 8 l-"»"ICAnYOURirviHOII0OMHr8Enii«i«s 

» - WTHEFLATFIElOBau haiis 
10 



ffltSH FRUff FOR ROTTMB VEGETABLES Daa J Kanradvs 



Different again is Repetition, the band 
formed by ex-Spizz man Pete Petrol, who 
present two good songs in "The Still 
Reflex"/"Fade Out". These multi-layered 
compositions with disco-funk rhythms do 
take their timeto grow but have some 
beautiful melodictouches. Future progress 
would definitely be helped if the vocalist let 
herself go a bit more instead of hankering 
after Siouxsie sternness. 

Eno buddy Michael Nyman is a sometime 
Flying Lizard (this record was produced by 
David Cunningham) and belongs to the 
ranks of scholarly experimentalists rather 



„ ^,,,,,,.7 ■■"•-""°'<=ai> Ilia smyre OT 

Mozart / Webern" is good and attractive, 
being two modern studies in the style of 
these two composers as if they had 
appeared today without the boring twiddly 
bits. Neat. ' 

Finally, a reminder that the cassette 
package "From Brussels With Love" is still 
available. Running over an hour and 
complete with booklet, it features 
contributions from Bill Nelson, Lewis & 
Gilbert, Thomas Dolby, Factory artists 
Durutti Column, Martin Hannett, Kevin 
Hewick, The Names and A Certain Ratio, Der 
Plan, Radio Romance, Eno cronies Michael 
Nyman, Harold Budd and Gavin Bryars 
interviews with Eno and Jeanne Morea'u a 
poem from Richard Jobson and a jingle from 
John Foxx. Excellent value. 

(All the above should be available through 

'ugh Trade - SAE to Promo Info. 137 
Blenheim Crescent. London W11. For more 
information write to Les Disques du 
Crepuscule at 32 Avenue des Phal6nes (B 13)' 
1050 Bruxelles, Belgium.) 



albums 

NOT TO be confused with Joseph K, 
Schleimer K (Omega Records) are a four 
piece formed by ex-Psychedelic Furs 
synthesiser player Dominic Brethes with 
bass, saxophone and vocals. Mind you. If 
this IS the sort of thing he was turning out 
before, my sympathies lie entirely with the 
Psychedelic Furs. Wafer thin ideas, large 
slabs of entirely forgettable synthesised 
wanderings, plain awful lyrics made worse 
by a pretentious vocalist — this sounds at 
times like a very bad PiL take-off. Add a 
flimsy paper sleeve and a bad pressing and 
you don't get an overwhelmingly attractive 
package. A single would have been quite 
sufficient. (Contact: SAE to Merlin Music 83 
George Street, London W1.) 

Things aren't much better over at Rough 
Trade where Television Personalities have 
extended their dubious talents as far as an 
LP. While their naive charm works OK on an 
occasional single, a whole album of grown 
lads pretending to be ickle innocent "hello 
sky, hello clouds" type 1 2 year olds and 
singing horribly cutesy ditties to the 
accompaniment of tweeting birds is so 
teeth-gratingly forced that the urge to 
destroy is almost overpowering. Look, you 
guys — there's the basis for some quite 
reasonable songs here, so ACT YOUR AGE 
willya? 

Full marks, however, to Rough Trade for 
securing and re-releasing Pere Ubu's classic 
Modern Dance" LP which is worth the price 
tor Non-Alignment Pact" alone. Amazing to 
think they were doing this all these years 
ago. Call it "industrial", call it what you will 
— this was a genuine innovator and should 
be heard at all costs. 

(Contact for Rough Trade: SAE to Promo 
Info, 137 Blenheim Crescent, London W11.) 



™E l-ATEST recording activity on 
IVIerseyside comes from Faction, who are 
principally Nicky Hillon and Reg Redmond 
from Pink Military. They went into the studio 
for four days to put down the basics for 
some songs while singer Jayne Casey was 
otherwise occupied in preparing for her 
firstborn, and various friends — notably Pete 
Wylie of Wah! Heat and drummer Joe 
c?ntributId'''°^^"^^-*^^°''''«<^''Vand 



rat[\r°"''Z"^'' "^^'^ *° P'eased With the 
resulting album sketches that they have 
beer, released as an EEP (Extended EPi) on 
nevrtable Records. While some tracksire 
indeed fairly minimal or impressionist 
others are really good - concise, spirited 
-maginative and melodic - and neK 
apology. With twelve tracks for around £2 
this represents exceptionally good value ' 

SiorrT--^^^'^^'^"''-'^^''-^^ 




Back with a vengeance much in vogue 
My friend the harlequin, the rogue 
Befriending the meek 
His tongue tucked firmly in his cheek 

Chorus 

You better come clean 

How could anybody be so mean? 

Tou better come clean 

I will not be a party to your scheme 

Admit that I was misinformed 

To whit, I'm lost and all forlorn 

I'm tattered and torn 

Too tired to see how sick you've grown 



POOR OLD SOUL 

By Orange Juice on Postcard Records 



Repeat chorus 
Poor old soul 
Poor old soul 

Repeat chorus 

Come Glean 

I will not be a party to your scheme 

imean 

The things you do just make me want to 
scream 

Words and music by Edwyn Collins 
Reproduced by permission Postcard Pub- 
lishing 



21 









SMASH HITS 
Spandau Ballet 



i 



■m-' _. 



# 








\ 



\ 



VI 




-^-- , 



y^ 



CEREMONY 




on Factory Records 

This is why it gets unnerving 
They find it all a different story 
No concern for wheels are turning 
Turn again and turn towards this time 
All she asks is strength to hold me 
Then again the same old story 
Word will travel oh so quickly 
Travel first and lean towards this time 

Oh break them all, no mercy shown 
Heaven knows it's got to be this time 
Watching her, these things said 
The times she cried, too frail to wake this time 

Oh break them down, no mercy shown 

Heaven knows it's got to be this time 

Avenues all lined with trees 

Picture me and then you stop watching 

Watching forever 

Forever, watching love grow 

Forever, letting me know 

Forever 

Words and music by Joy Division 
Reproduced by permission Fractured Music 



\. ^i 



WHAT BECOMES OF THE BROKEN HEARTED? 




Mm:§[ 



|if-^p>§|i| 






By Dave Stewart/Colin Blunstone on Stiff Records 



flK 




As I walk this land of broken dreams 
I have visions of many things 
But happiness is just an illusion 
Filled with sadness and confusion 

What becomes of the broken hearted 
Who had love that's now departed? 
I know I've got to find 
Some kind of peace of mind, baby 

Tlie roots of love grow all around 
But for me they come a tumbling down 
Everyday heartaches grow a little stronger 
I can't stand this pain much longer 
I walk in shadows searching for light 
Cold and alone, no comfort in sight 
Hoping and praying for someone who cares 
Always moving and going nowhere 

What becomes of the broken hearted 

Who had love that's now departed? 

I know I've got to find 

Some kind of peace of mind, help me please 

Now what becomes of the broken hearted 

Who had love that's now departed? 

I know I've got to find 

Some kind of peace of mind 

I've been searching everywhere 

Just to find someone who'll care 

I've been looking everyday 

I know I'm gonna find a way 

Nothing's gonna stop me now 

I will find a way somehow 

I've been searching everyday 

I know I'm gonna find a way 

I've been looking everywhere 

Just to find someone who'll care 

Words and music by Riser/Deon/Weatherspoon 
Reproduced by permission Jobete Music 



^^^^ 



.00-^ 



teaser 



The names listed are hidden in the 

diagram. They run horizontally, vertically 

or diagonally — many of them are 

printed backwards. But remember that the names 

are always in an uninterrupted straight 

line, letters in the right order, whichever way they 

run. Some letters will need to be used more than once — 

others you won't need to use at all. Put a line 
through the names as you find them. Solution on page 42. 



ABBA 

AFTER THE FIRE 
ALTERED IMAGES 
ANGEL CITY 
BARBARA DICKSON 
BARRON KNIGHTS 
BOSTON 

CHARLIE DANIELS 
CHEAP TRICK 
ENGELBEHT 
DAN FOGELBERG 
ELLEN FOLEY 
GARLAND JEFFREYS 
GARY MYRICK 
GEORGE DUKE 
GEORGE JONES 
HEART 



JACKSONS 

JEFF BECK 

JOE DOLCE 

LAX 

JOHNNY LOGAN 

MEATLOAF 

MELBA MOORE 

MIKE BATT 

MOLLY HATCHET 

NOLANS 

PHOTOS 

QUICK 

REDDINGS 

RITZ 

ROMANTICS 

RUSS BALLARD 

SHAKIN STEVENS 



SHARON REDD 

SINCEROS 

STEP 

TANGO BRIGADE 

TED NUGENT 

WEBSTER LEWIS 



UTHO POSTERS 20" x 28" £1.20 EACH + POSTAGE & PACKING 
1 POSTER ADD 35p, 2 OR MORE ADD 45p 




27 MS. UDD 29C. TIEGS 53 CARTER 55 M. LOAF 57 BLONDIE 59 FARRAH 




71 CL 



72 ABBA 73 JACKLYN 74 C. LAPP 87 LENNON M POU GE 

ROCKSTAR POSTERS £1.35 EACH + POSTAGE & PACKING, 
1 POSTER ADD 35p, 2 OR MORE ADD 45p 




«» BO DEREK - 474 BU SH 471 JIM H 4M BOWIE 4M J. PAGE 488 BEATLES 

T»^^ m^MM mmm mimm ^.^ 




491 M. HEAD 482PIAHT 484 QUEEN b22S CtASH 438 J. PEAN 453 00011? 



FREE CATALOGUE — 

Send iaiga self-addressad 

•nvaiope + 20p stamp. 



Trade aaquim* wolcome 



Offars apply to UK anly 

— Eire cuatamars 

add 20% 



LOIMDON POSTERS (Dapt. SH2I 
125 EASTERN AVENUE. 
REDBRIDGE, ILFORD. 
ESSEX IG4 SAN 



BSBAKABMKC 1 RYMYRAG 


ANOSKC 1 DARABRABLTY 


HEARTKEPHSGN 1 DDERS 


BOBGEHKBMOLLYHHOGL 


KNBBOCGSFG 1 NKCMPAE 


ECATILNJBFRITZHXRI 


TTIUTOYINUEAPOBI LN 


TNQRSRONSKHJTAFEAA 


MGEKTSESNYNATEMDND 


OECGFPBBLHSOHESADE 


NAAMUAALLEOTRBEGJ 1 


JGSYLNOECERJARG 1 EL 


OENLTMDLHEGNSNARFR 


NOAAH 1 OETCNNOGMBFA 


ERLYEDCFTAELEL lORH 


DGOREFALPVEOMEDGEC 


DENONLFHESRMGWENYS 


EJJAEFOTAGCUNERASC 


RODPETSFEGN 1 BOETB 1 


NNNEON 1 DNHOATSTUST 


OEJS 1 KUHSEPLONLSRN 


RSOKAKOFNELLERAEOA 


AJAHEROOMABLEMAMTB 


HHS IWELRETSBEWEHOO 


SJOGREBLEGOFNADWSR 



Honey QANE .- 




27 




albums 



LEVEL 42: Love Games (Polydor). 

There would seem to be little 
doubt that these British boys are 
becoming the masters of 
delicate, itchy funk. One only 
wishes they wouldn't just spray 
on the song as if it were an 
afterthought. 

RSCHER-Z: Marliese (Liberty). 

Just when I'd consigned them to 
my personal list of no-hopers, 
Fischer-Z spring out of nowhere 
with a minor belter of a 45, a 
small epic that takes much of the 
competition to the cleaners. Were 
it the work of The Jam or some 
band of similar standing, this 
high tension item would be top 
five even as we speak. 

THE CURE: Primary (Fiction). My 

admiration for Robert Smith 
aside, I do wonder how long The 
Cure can continue to prop their 
songs against the same chord 
progression, with its clambering 
bass and deadpan drums. At the 
moment their fast song (this one) 
sounds just like their slow one 
speeded up. 




SCARS: Aii About You (Pre). The 

name seems inappropriate when 
you hear this. Instead of 
lacerating avant garde you get 
light but powerful pop, clipped 
along by fine drumming and 
sturdy, ringing guitars. An 
outsider but not a rank one. 



BILL NELSON: Banal (iVIercury). If 

this is the record that's supposed 
to mark Nelson's return to active 
record making, then why was it 
recorded two years ago and why 
does it sound more like Bebop Oe 
Luxe than anything else? Still, he 
remains one of the few people 
capable of making guitar-heavy 
rock without abandoning subtlety 
and colour. He also comes from 
Wakefield and not many people 
do. . . 

28 



TENPOLE TUDOR: The Swrords 
Of A Thousand Men (Stiff). With 
every other combo ransacking 
the local amateur operatic for 
period costumes and 
despatching their manager down 
to the library in search of snappy 
song titles, TOTP is becoming 
almost interchangeable with the 
Sunday afternoon classic serial. 
Tenpole's togs are very "Children 
Of The New Forest", all cavalier 
hats and rapiers. The actual 
noises on the record suggest that 
he's picked the losing side in 
more ways than one. 



THE COMSAT ANGELS : Eye Of 
The Lens (Polydor). With one 
brilliant single, "Total War", and 
a fairly substantial album under 
their belts, it's about time The 
Comsat Angels blossomed a 
little. Sad to say, they seem 
unable to break free of the usual 
rock straitjacket and this dull 
track wouldn't even have made it 
on to their long player as a filler. 



JOHN LENNON AND YOKO 
ONO: Watching The Wheels 
(Gaffen). Final proof, if any were 
needed, that the record industry 
can make politics look like an 
honest way of earning a living. 
Does anybody actually need 
another single from this album? 
Have people been clamouring for 
more? Hasn't his memory 
already been wrung for the last 
dollar of revenue? Evidently not. 
My guess is somebody will be 
"stumbling upon" previously 
unreleased tracks for quite a 
while yet. 



THE RAYBEATS: Searching 
(Don't Fail Off The Mountain). I 

fail to see what is so irresistibly 
modern and amusing about a 
bunch of ham fisted so-called 
musicians attempting to ape the 
cornball instrumental technique 
of early sixties pop. Please 
explain, somebody. 

Pit: Fiowers Of Romance 
(Virgin). You could never accuse 
these jokers of squandering their 
scarce resources. This is certainly 
economic. If nothing else. Out 
goes the dentists' drill guitar and 
in comes a new emphasis on the 
bare bones of the rhythm section. 
Rotten has pared down his vocal 
style to just two notes, both flat. If 
this is the sou nd of the f utu re let's 
hope that it can somehow be 
averted. 



DIRE STRAITS: Skateaway 
(Vertigo). Whispering, late night 
vocal, stinging guitar, breathy 
song all about a girl on roller 
skates. Another Dire Straits 
record in fact. 



SLADE: Wheels Ain't Coming 
Down (Cheapskate). Although I 
can't pretend to be entirely happy 
about Slade's transformation 
from rowdies to scrap metal 
merchants, this is a harmless 
enough blast of hard rock. The 
plot concerns an ancient airplane 
held together surely by chewing 
gum and faith, whose 
undercarriage proves a mite 
contrary. Not the most obvious 
subject matter but Holder's 
remains one of the most 
distinctive voices on record. 




BURUNDI BLACK: Burundi Black 
(Barclay). When these African 
tribesmen first committed this 
great beast of a rhythm to tape, I 
don't suppose they ever guessed 
that It would in due course be 
either adapted or borrowed by 
pop musicians as diverse as Joni 
Mitchell and Adam Ant. They're 
probably not aware that Rusty 
Egan has grafted his own 
"additional drums" on to this 
particular version either. Still, 
that's the trouble with living in 
Africa. The music papers arrive 
so late. 

SIAM: Deja Vu (A&M). If only 
someone would tell these people 
that there is more to making a 
pop record than whisking 
together a few bright-eyed and 
bushy-tailed ingredients and then 
scrubbing up the surface until it 
shines. Beneath all this frantically 
perky activity there's a great deal 
of not much. 

BUCKS FIZZ: Making Your Mind 

Up (RCA). Gee, it's great to be 
British. Not only do we make 
better records than anyone else 



singles 

by David Hepworth 



but we can also make better 
stinkersthanany of the 
continental competition. This is 
actually our entry for the 
Eurovision Alitteration Contest, a 
record so deeply moronic that 
they must already be throwing in 
the towel from Monaco to 
Miinchen. Follow that, 
Luxembourg. 

BAD MANNERS: Just A Feeling 
(Magnet). Yet another Loonee 
Tune. What can you say? Bad 
Manners' frolics don't exactly suit 
critical dissection. You're either 
drawn to their particular brand of 
easy breezy jump music or you're 
not. I am and this is a hit record. 



THE SEARCHERS: Another Night 
(Sire). Graced by some 
beautifully luminous guitar and 
distinguished by their usual 
impeccable singing, but still 
more likely to find its way into the 
bargain bins than the charts. The 
song itself explores a few well 
worn ideas in an attractive 
enough manner but somehow 
doesn't quite go for it like it 
should. 

THE ASSOCIATES: Tell Me 
Easter's On Friday (Situation). 

The singer still gets a bit too close 
to Bowie's slightly crazed falsetto 
for comfort but The Associates 
have at least abandoned that 
harsh military backbeat in favour 
of a hazier, more spacious 
approach. Maybe their next 
album will sound like their own 
work. Good record. 




B. A. ROBERTSON: Saint Saans 
(Asylum). One of the great 
incurable smart-arses of our time 
continues to lampoon himself 
and his lifestyle, slinging in a 
hundred and one references to 
various notable aspects of the 
high life. I like it but then I'm a 
social climber too. Next time he 
should provide foot notes on the 
sleeve for the less well-informed. 



f**^' 



'.«af*' 



FAD GADGET: Make Room 
(Mute). Spare, rhythmic and very 
clever, If Fad is crazy, he's crazy 
like a fox and this deserves radio 
play at the very least. 

JOOLS HOLLAND AND HIS 
MILLIONAIRES: Bumble Boogie 
(A&M). Jools returns with an 
appealing example of 
straightforward boogie piano 
that may not find much 
commercial favour but does at 
least prove that his digits are 
exceedingly agile. Bet he plays 
with his hands crossed . . . 

STYX: Too Much Time On My 
Hands (A&M). Oh yeah? You 
didn't have to make a record 
though, did you? What's wrong 
with basket-weaving or meals on 
.wheels? At least we now know 
that Styx have heard the last 
couple of Robert Palmer records. 
And this is one of the most 
popular bands in the world! Gulp. 




MARVIN GAYE. Praise (Motown), 
it's sometimes useful to strip 
away the tune and the 
arrangement and the production 
and simply examine what is 
being said on the record. So I did. 
If Marvin Gaye used this 
conversational tack in an 
interview, I'd be checking the 
exits. Why does love always have | 
to come "shining through"? Why 
can't it use the door like 
everybody else? 



I"^ S"AKIN' PYRAMIDS: Skin -' and electronics can be as 

...„...,. wrisp thr^...!....~ »i .. . 

acoustfc rockabilly from a trio of i 

young Scots who are quite ( 



League) plus guest musicians 
making a fine debut with this all 



side is really great — melodic. 



aiming to be anything more 
substantial than a tasteful 



ck n roll basics and 



Relying on some vague good 
time feeling in this case results ii 

a record that's listenable but thii 
on both playing time and 

originality. (5 out of 10). 

David Hepworth 



into It, but as for futurism 
th— ,''' -: L_;;_. „,',", c 
those who don't have 



"Downtown" side, by 



Sfeve Taylor 



RICO: That Man Is Forward ■ 
(2-Tone). In the early 50s, young 
Jamaican musicians copied the 
horn sound of American R&B 
bands, added their own oddball 
shuffle beat and invented Blue 
Beat, the music that eventually 
became ska, Rico, The Specials 
trombonist, grew up in that era 
and here he works with some of 
. Jamaica's finest to recreate the 
qriginal instrumental sounds 
mixing the oldies in with his own 

original compositions. A kind of 
non-boring history lesson you 
can skank to. Join the class as 
soon as you're able. (8 out of 10), 
Fred Dellar 

CHANGE: Miracles (WEA) 

Miracles? Where? Change's last 
album "Glovy Of Love" yielded 
tvvo fine singles in "Lovers' 
Holiday" and "Searchin'" but 
this is little better than 
serviceable stuff. A medium pace 
rhythm section turns over while 
the boy /girl vocals attempt to 
inject some soul into 
unremarkable lyrics, with the 
final result sounding like an 
Hl-judged attempt to imitate Chic. 
Enjoyable enough while playing 
— especially the opener 
"Paradise" — but otherwise 
totally forgettable. Another 
reason to look to the rise of 
Brit-funk. (5 out of 10). 

Red Starr 

LANDSCAPE From The Tea 
Rooms Of Mars To The Hell Holes 
Of Uranus (RCA), From the 
brilliant to the plain silly; 
Landscape throw their 
formidable technical and 
technological expertise into two 
sides of musical exploration 
Their unique blend of brass, fij 



ows about a quick pig's ear 
down the old battle cruiser then? 
There's nothing like a good 
Cockney knees-up album and 
that's just what this is - nothing 
like a good Cockney knees-up 
album. Although their two 
singles "Rabbit" and "Poor Old ' 
Mr Woogie" (included here) have 
a certain charm, a whole album 
of songs —another nine to be 
precise — about beerguts and 
crumpets does try the patience 
more than somewhat. File under 
Bound To End Up In The £1.99 
Rack. (4 out of 10). 

Bev Hillier 

SLADE: We'll Bring The House 
Down (Cheapskate). Slade were 
always a great energetic live 
band but it was their sense of 
melody that put their hit singles 
head and shoulders above 
everybody else. Their present 
success unfortunately owes more 
to the dreaded Heavy Meta I 
revival than anything else, and 
their natural pop sensibility gets 
drowned amid a sea of wailing 
guitar solos. They sound as raw 
and live as ever and Noddy 
Holder still has a unique set of 
vocal cords but play this next to 
their "Greatest Hits" and there 
really is no competition. They can 
do better than this. (6 out of 10). 
Bev Hillier 



THE WHO: Face Dances 

(Polydor), Backs bent with the 
weight of all that accumulated 
experience, The Who stagger 
forward once again to tell us 
about their troubles. The devices 
are all only too familiar — the 
fire-breathing vocals, the epic 
arrangements, the uneasy 
mixture of solemn 
philosophising and agony 
column advice, Entwistle's pair of 
embarrassments aside, this is 
Townshend's baby and he does 
try. But the band seem so intent 
on pumping his songs full of hot 
air that both his wisdom and his 
whimsy float away over the 
rooftops, I don't doubt that they 
still care and all that — it's just 
the awful way they show it, (4 out 
of 10). 



m cheek, but it occupies the time 
very nicely while winding back to 
hear side one again. A limited 
edition of 10,000 (why?) so don't 
get caught out— buy now! (9 out 
of 10). 




DIANA ROSS: To Lov6 Again 
"^otow")- Lady Di's last Motown 
album? Well, maybe not. But this 
release definitely has the smell of 
goodbye about it, containing only 
three new tracks alongside such 
oldies as "Touch Me In The 
Morning", all ofthem from the 
pen of writer/producer Michael 
Masser, Everthing's OK vocally 
but someone really should put 
the damper on her yen to be 
Streisand, She's really much 
better when dancing cheek to 
Chic. (6 out of 10). 

, Fred Dellar 




David Hepworth 

BRITISH ELECTRIC 
FOUNDATION: Music For 
Stowaways (Virgin, cassette 
only). The enjoyable side of 
electronics. BEF are Martin Ware 
'^ '^i'ij*f?ft|*f te of the Human 



STATUS QUO: Never Too Late 

(Vertigo), Another album, 
another boogie ride. As usual 
there's plenty of fun to be had 
lots of choruses to sing along to 

and lashings of riffs you can 
stamp your feet to. This year's 
Quo-ta includes the hit single, 
'Something 'Bout You Baby I 
Like", and a dandruff-loosening 
version of Chuck Berry's "Carol- 
As with Red Starr's socks, there's 



complain? (7 out of 10) 



Fred Dellar 



WHAT'S 
WHAT 

IN PART two of the Smash Hits guide to 
holding your own in conversations musical we 
bravely go where wise men fear to tread by 
defining a few of the terms used to describe 
various schools of music. This enterprise is 
obviously doomed to failure, not only because 
different people will have differing 
interpretations, but also because these many 
and varied strains of popular music have 
interacted so frequently that It's impossible to 
say accurately where one area ends and 
another begins. But here we go . . . 

THE BLUES was the traditional folk music of 
the American negro. Initially acoustic (guitar, 
harmonica and vocal) it developed into 
rhythm and blues as the people migrated to 
the industrial cities and amplification became 
available. Its basic conventions — a line up of 
guitar, bass and drums playing a simple, 
repetitive twelve bar progression — supplied 
the framework upon which rock was built. 

COUNTRY (or country and western) was and 
still is the traditional folk music of the white 
people of rural America. Having plugged into 
electricity at the same time as its black 
counterpart It remains a thriving music to this 
day, distinguished often by bittersweet vocals, 
steel guitars and sentimental lyrics. 

ROCKABILLY is generally considered to be the 
music Elvis Presley and chums invented when 
they combined the instrumentation of country 
music with the slippery sensual vocals of the 
blues. As such it is the basis of most white 
rock and roll to this day and has influenced 
and shaped the styles of everybody from 
obvious revivalists like The Stray Cats to 
contemporary pop singers like Elvis Costello. 





Bob Mariey 



SOUL grew out of R&B and became the black 
pop music of the 60s. More emphasis was 
placed on the intensity of the vocal and horns 
and strings were used freely to accentuate the 
epic qualities of the songs. Its classic artists 
were people like Aretha Franklin, Smokey 
Robinson and Bobby Bland. 

FUNK came to the fore as artists like Sly Stone 
and James Brown stripped the soul sound 
down to its components and placed the 
rhythm section at the forefront of the sound in 
order to create compulsive dance music. 
However, funk Is a quality that any music can 
have. It generally implies a kind of gutsiness 
and grit in the performance. 

PSYCHEDELIA. The word derives from the 
effects of hallucinatory drugs and was used to 
describe the mazy, mainly instrumental work 
of the early hippy bands like the Grateful 
Dead. 

PROGRESSIVE. A horrible, pretentious term 
that described a lot of horrible, pretentious 
music and excused the excesses of British 
art-rock Ibands of the late 60s and early 70s ; 
like Yes, Pink Floyd and Genesis. 

HEAVY METAL was a phrase originally coined 
to sum up the savage, metallic sound of early 
punk outfits like The Stooges and Alice Cooper 
but is nowadays employed when talking about 
guitar based hard rock bands who prize noise 



and drama above all things. 

PUNK ROCK is another tag whose meaning 
has altered. Punk bands were originally 
uncultured garage bands who shot to 
overnight fame in the 60s via one inspired 45 
and then faded straight back into obscurity 
leaving just the whiff of legend behind them. 
The term however was resuscitated in the mid 
70s to describe the antics of The Sex Pistols 
and any other bands who played it simple, 
brash and very irreverent. 

POMP ROCK is Styx or Kansas or any other 
band who spend a fortune on spangly 
jumpsuits and dry ice and specialise in 
recycling old Genesis Ideas for the 
consumption of retards. 

REGGAE Is the prevailing pop music of 
Jamaica, based mainly on an odd backwards 
kind of rhythm which is hypnotic, simple and 
nearly Impossible for a non-Jamaican to play. 
The brand of reggae wh ich holds sway at the 
moment (as in Bob Marley and Burning Spear) 
grew out of ska and rock-steady, earlier styles 
of West Indian pop which were tinnier, more 
Influenced by American R&B and less 
dependent on heavy bass. Of late dub music 
has become increasingly popular. This Is 
created by the remixing of ordinary recordings 
to accentuate the various Instruments and 
voices and thereby achieve odd and exciting 
effects. 




PRINTS POSTERS PHOTOS 




IHt MMV6153 

25-X37" 94ic64cmi 

£1.60 




GENESIS TA100S -lOHN & YOKO ROXY MUSIC TA1006 THE BEATLES 

35'x24' aSxSlems P>33a8 25"x38" 35*1124' SSxeicms P3131 25" x 38" 

£1.75 63x93ots£1.«) E1.75 63x93cmf £1.60 



FOR OUR CATALOGUE ILLUSTRATING POSTERS, 
PRINTS 4 PHOTOS SEND JUST SOP 



ALL FULL COLOUR EXCEPT NO'S WITH B/W 



ANDROIDS V1 136 
31" X 23" 79x59cnn 
£1.9S 




SIOUXSIE TA10M 

3S'<24- SSxSlenw 

£1.75 




WHY M1697 B/W 

38"x25" 93x63ciTi> 

£1.95 




OLIVIA NEWTON- 
JOHN S3102 
3r'>27" lOOxaSom 



m 

BRUCE 
SPRINGSTEEN 
P3276 25"x38" 
63x93cmi£1.60 



( - 



ADAM OF THE 

ANTS 

BOB MAR LEY 

BLONOIE 

BLOND IE 

BLONDIE 

BLOND IE 

BLONDIE 

BLONDIE 

IAN DURY 

QUEEN 

THESTRANGLERS 

THE STRANGLERS 

GARY NUMAN 

STING 

POLICE 

THE JAM 

CLASH 

AC/DC 

BLACK SABBATH 

IRON MAIDEN 

BRYAN FERRY 

BRYAN FERRY 

ROXY MUSIC 

StOUXSIE 

CLIFF RICHARD 

JUDAS PRIEST 

CHARLIES ANGELS 

STATUS QUO 

STATUS QUO 

SEX PISTOLS 

SID VICIOUS 

MADNESS 

LED ZEPPELIN 

LED ZEPPELIN 

LED ZEPPELIN 

GENESIS 

GENESIS 

KISS 

PINK FLOYD 

PINK FLOYD 

THIN LIZZY 

JIMI HENORIX 

JIMIHENDRIX 

DEEP PURPLE 

TED NUGENT 

SHOWADDYWADOY 

VAN HALEN 

MOTORHEAD 

ELVISCOSTELLO 

THE WHO 

WHITESNAKE 

JETHROTULL 

KATE BUSH 

KATE BUSH 

KATE BUSH 

THE UNDERTONES 

E.L.O. 

WINGS 

JUDIE TZUKE 




K1270 
P3094 
P32a7 
P3266 
P3I67 
P3220 
P3216 
P3265 
P3200 
P3174 
P3158 
P3263 
P3247 
P3248 
P3242 
P3217 
P3195 
P3206 
P3285 
P3284 
P3245 
P87 
P3224 
P3290 
P3249 
P3255 
P325a 
P3238 
P3100 
P3226 
P3243 
P3273 
P3t33 
P3086 
P3246 
P3ie6 
P3296 
P3236 
P320B 
P3064 
P3157 
P3040 
P3260 
P3283 
P3266 
P3D45 
P325t 
P3232 
P3223 
P3227 
P3254 
P3264 
P3184 
P3222 
P3250 
P32S2 
P3198 
P3274 
P3224 



STIFF LITTLE FINGERS 

BOOMTOWN RATS 

U.F.O. 

RUSH 

ROD STEWART 

OLIVIA NEWTON- JOHN 

THE SCORPIONS 

SPECIALS 

THE PRETENDERS 

ELVIS PRESLEY 

ELVIS PRESLEY 

ELVIS PRESLEY 

EARTH, WIND. AND FIRE 

ROLLING STONES 

SUPER TRAMP 

YES 

VILLAGE PEOPLE 

SECRET AFFAIR 

SELECTER 

LINDA RONSTAOT 

LINDA RONSTADT 

BEE GEES 

ROBERT PLANT 

FAR RAH 

FAWCETT-MAJORS 

JACLYN SMITH 

KATE JACKSON 

FLEETWOOD MAC 

JOHN LENNON B/W 

SPECIALS 

THE PRETENDERS 

CLIFF RICHARDS 

THE WHO 

THE BEATLES 

THE BEATLES 

JOHNNY ROTTEN 

DAVID BOWIE 

DAVID BOWIE 

OLIVIA NEWTON-JOHN 

SU2I QUATRO 

RAINBOW 

AC/DC 

BLACK SABBATH 

RUSH 

U.F.O. 

KATE BUSH 

QUEEN 

DAVID BOWIE 

DAVID BOWIE 

THIN LIZZY 

THIN LIZZY 

THE JAM 

JUDAS PRIEST 

BLUE OYSTER CULT 

POLICE 

STING 



P3270 
P3189 
P3190 
P3297 
P3187 
P3210 
P3t96 
P3199 
P3193 
P3231 
P3269 
P3272 
P31&9 
P3267 
P3275 
P3262 
P3092 
P3278 
P3173 
P3225 
P3261 
P3279 
W57 
W58 
W56 
WS1 

W41 
W42 
W43 
W69 
VI 224 
V61S8 
V6155 
V6148 
VI 203 
V1066 
V1204 
V1211 
VI 053 
V1131 
V1090 
V1192 
K1244 
K1246 
KI223 
K1237 
K1247 
K1249 
K1263 
K1241 
K1234 
K1256 
K1222 
K1264 
K4064 
K4004 
K1258 
K12G9 



DAVID BOWIE 

Siees 39"x27" 

100 x68cms £1.95 



JAMES DEAN P3237 

25" X 38" 63x93cms 

£1.95 6/W 



BLONDIE V11S4 

31"x23"79x59crm 

£1.60 





MADNESS TA1007 

3S''ic24'' 89x61 cms 

£1.75 




LAUREL AND 

HARDY K1 178 B/W 

39"x29'* 100x74cms 

£1.75 



' \ *■ J UDIE TZUKE P3224 STING K12H 

dJgL i^Q ^M Jif 

»x7W£i6o f^^ mmi wKt 

KB BRYAN FERRY STING V1172 KATE BUSH S20< 

m^ V1ie8 31"x23" 3Vx23" 79x59c™ 39"x27" 100x6Scn 

'^L^l^ 79x59cms£1.60 £1.60 £1.95 





JOHN LENNON 
P3303 38"x25" 
93x63cm>£1.60 



KATE BUSH V1167 

31"x23" 79 X SSotlf 

£1.60 




DAVID BOWIE 
P3299 38 •x26" 
93x63cmi£1.60 



ADAM OF THE 

ANTS P3302 

38"x25" 

93x63cms £1 60 




ELVIS PRESLEY 
R1146 38"x26" 
93x63cms£1.95 



TIGER AND CU8 
M1627 25"x38" 
63x83cms£1.95 





M 



DAVID BOWIE 

TA2001 B/W 

24"x18" 61x46cms 

£1.50 



MARILYN 

MONROE K151 

B/W 39"x29" 

100x74ciiit£1.75 



MARILYN 

MONROE R1144 

38"x25" 93x63cmi 

£1.95 




MAZbL 

O'CONNOR 

TA2014 B/W 

24"x18" 61x46cnis 

£1.50 

POSIUSF * PACKING ONE OR TWO POSTERS ADD SOP THREE OR MORE - ADD 70P 
LESLEY PROMOTIONS IDCPT 1/H) 162 UNION STREET, LONDOW SE1 OLH. 

POST TO LESLEY PR0M0TI0NS:162,UNI0F7sTBEe"0ND0frSEr0LH! 

NAME (please print) 

ADDRESS 



Please rush Catalogueis) and/or Poster Nols) . 

I Enclose £ Including Postage and Packing as Priced above 



BRYAN FERRY 

TJ\2002 B/W 

24"x1S"61x46cms 

£1.50 




hakoog th 



■■• ■■■ 



^ _, — ~^ "•V successfully 



'piaytiine for the 
European man 

exploited their 'f """^.^And. no* that 
ex.en.ive use "f .*'™tu^u" that lurked 
they've go. a ™"^!^*ie,T^xplicitly bared 
«ilhinthe,rfunky esotenca ^^^^^^ 

in all its 'hough.-t^''"*;^ B„ ss-s work 

Given drumme f^'" v°,„e. it shouldnl 

with Spandau Ballet and V^age ^^^ ^ ^^^^ 

,hock anyone '" /^^^^e precursors of the 

circle, and ^andscap^^ he^P ^,p„„ight 

Nev, White D'*"; ^ '^ '^.h vaunted siblings. 
asi.s«ingsoverthe,rrnuch » ^ ^^^^ 

There's ,ust »,™t!Lt™„s just to hear 



There . ,— - 

■ ■-atleastm.--.r-- 

one opens 



album, it takes 
-^>- — once 



Side 



aiDuiii. ■' * 

everything once 

■European Man exc.uus 

IXly blit.es the oppos«.on. 

V MELODYMAKEF 



ot 






«=ne and ^e™* '*""«^ * UlC o"""' 
P»P'e-s™r"«'"«'o«a'^?p^^f 

""^^Ol^y MAKER 






%. 



*i 






V^^« 



=^-^ 



^*/. 



% 






so^ 



Rxjmlhetiea-roomsofmars.. 
..tothe hel-hc3iesof uranus 



BNSTBNAGOGO 





ADAM JACKET 

Superb value in black drill ONLY 
with yellow gold expandex £« «u 

grinted braiding. Size: L9.9U 

mall, Med or Large. + (Of PftP 

Send tfhequBS, postal orders or cash to 



MAIN LINE (H) 



51 TWO MIU HIU ROAD, 



KINGSWOOD. BRISTOL BS1S IBS 



P.V.C. TROUSERS 

Like the ones Adam flUIV 

wears. Men's sizes 24" to ""t' 
38''wai5t. GirlssizesS ^7 Qfl 
(32- hip) to 18 (42- hip). ^.'^^ 

* Mciity Imtk gmaMn it 
tOfhrmppfm to UK » Maud oalr) 




Horse &P6ny. 

The only magazine that's 

as devoted as you are. 




Horse & Pony is written by people who care as much for tiotses as you do . 
People like Malcolm Pyrah who helps you improve your riding and jumping 
technique. TV vet Eddie Straiton tells you what goes on inside his siaigery and 
Rachel Bayliss explains training for horse trials and dressage. And you can 
learn how to be a stud groom in our series on careers with horses. 

A top showjumper features on our full-colour,pullK)u( poster and 
there's a chance to win a fabulous prize if you can'Mark the Hoof" 
in our great new competition. 

Should you be buying or selling, there are pages of ■ 
small ads for you to browse in eveiy issue. * 

Don't forget you can now get Horse & Pony every 
fortnight, so make sure you placearegular Thursday 
order with your newsagent. 




^ 





















fc»-*Zi! if;; 





,;/> ^V^vC- 







■■■v,_,-,. ----V^- % 



Remember, health warning 
It's printed, on the packet 
Middle tar, low tar 
High tar, sort of magnet, aah 


Nerves, nerves 

Tension, tension 

Addiction, addiction, addiction, addiction 

Low tar, high tar 




Tatting one out of the packet 
Is just a force of habit 
1 know you can not stop it 
Though 1 know it's the reason why 


Remember, health warning 
It's printed, on the packet 
Middle tar, low tar 
High tar, sort of magnet, aah 




Nerves, nerves 

Tension, tension 

Addiction, addiction, addiction, addiction 

Low tar, high tar 


Nerves, nerves 

Tension, tension 

Addiction, addiction, addiction, addiction 

low tar. high tar 




Nicotine stain on your finger 

Try to wash off but it still linger 

Cigarette holder just a joke 

The weed taste bad away from smoke 


Remember, remember, remember 
Tar, tar, tar, tar, tar, tar, tar 




Words and music by S. Strange/M. Ur< mh/H. Egan/D. Formula/B. Adamson 
Reproduced uy ijt)iitiiasiK,n inidnu Music Ltd. 





■■■—-"^ :. »j^|,YtsTr^\?is»P"-'^--'""""-^-"-'-' 


TITLE: 


Tar 


LABEL 


: Radar 


YEAR: 


1979 



■ ReOOfSTCO BY: 
Richard Ashforth, 
Astoy Common, 
Sheffield 



GUILTY 



^^^■■1 I / '^H ' 



I 



NOUVEAUX 



ON LIBERTY RECORDS 



Don't say a word, I know what you're thinking 

It's plain to see 

I see my opportunities shrinking 

In front of me 

I know you've made up your mind 

But don't say 

Although I know of no crime 

It's the same 

Chorus 

Guilty, guilty you've found me 
Guilty, guilty you've found me 
Guilty, guilty you've found me 
Guilty, guilty you've found me 

I wonder why you haven't the time for 

The reasons why 

To hear the truth might alter your mind or 

Open your eyes 

I know you've made up your mind 

But don't say 

Although I know of no crime 

It's the same 

Rapeat chorus 

I know you've made up your mind 
But don't say 

Although I know of no crime 
It's the same 

Rapaat chorus to fade 

Words and music by Sal Solo 
Reproduced by permission Sal Solo 



EARNING THE odd gold or silver 
disc must be very nice. Although 
if you're as long established a 
company as EMI the ritual celebrations 
must be tempered by the question of 
where you're going to stick them all. 
Hence the "video roonn" where I 
interviewed Classix Mouveaux is 
wallpapered with thenn — and the idea 
rather took Sal Solo's fancy. 

"Fascinating," says the baldhead. 

"Mm. It would be more fascinating if 
they were all ours," adds his colleague 
Mik Sweeney from under his quiff. 
Slightly premature maybe for a band 
with "Guilty" still only in the lower 
reaches of the chart but Classix have 
few doubts about the success they 
consider they deserve. 

That same morning The Sun, the 
most popular paper in the country after 
all, had given Sal a half share in a 
centre-spread and he'd caught a 
fleeting glimpse of the coming of Sal 
Solo, Star: 

"I couldn't say I liked the piece 
because it's so over the top about us. 
It's i/erKflattering though." 

He even forgave them for the picture 
caption which referred to him as pop's 
"Kojak". 

Every new face coming into the 
public eye feels the same effect: 

"When I walk into EMI I'm not the 
person I have known for 20 years or so. 
I'm Sal Solo, the act they are trying to 
market." 

And a marketably odd couple they 
make. Sal, 26, is in a chic black boiler 
suit, his shaven scalp concealad by an 
Arab headdress, his face chalk-white 
with just the merest hint of eye liner. 
Mik, 19, wears a relatively nondescript 
neat jacket and trousers. Beneath thi- 
quiff his face has the undernourished 
look of one of the Dead End Kids from . 
'30s gangster movie. 

The contrast isn't planned and the 
pair are perfectly natural people. I'd 
thoughtthat people who obviously put 
such thought and hard work into their 
daily appearance might care rather 
more about The Pose than The Word. 
As it turned out, they natter in easy and 
friendly fashion. 

AFTER 18 months of being largely 
ignored by the media, who had them 
filed away as being "somettiing to do 
with some former members of X-Ray 
Spex", and then finding themselves 
taking second place to names like 
Spandau Ballet and Steve Strange, 
Classix Nouveaux are at last starting to 
get their share of attention. 

They haven't yet developed an 
accomplished interview technique and 
there are no rehearsed answers so 
disagreements sometimes surface. 
This openness is far more stimulating 
than any "cool". 

As Mik says: "People are always 
surprised that Sal isn't the 
arms-crossed-hands-on-the-shoulders 
and staring-into-space type. He's quite 
a softy after all, isn't he?" 

Well, not exactly that. Although he 
pronounces himself "humbled" by his 
experience so far, Sal takes pains to 
emphasise the uncompromising 
independence which is the backbone 
of his work. 

"I am a self-made man. I don't have 
much respect for people who get their 
knowledge out of books. I like to do 
away with as many outside influences 
as I can and be the person I want to be." 



Sal found that person unusually 
early on in life. At 12 he sent his first 
composition to a record company and 
was disappointed not to be signed up 
on the spot. At school he refused to 
take the exam system seriously. 

"Why should I? I knew I was going 
to make it and that was that." 

He then moved to London and lived 
on factory and office jobs until music 
could provide him with a living. 

Mik has probably done less 
theorising and more active rebelling. 
Soon after taking up guitar he became 
convinced he could "set the world on 
fire". Before long he'd moved on to 
making his own equipment, a craft he 
still pursues. (His current bass and 
Sal's striking mirror guitar are both 
examples of his work). 

Born in Cork, Mik's family moved to 
Wimbledon in Surrey when he was just 
a baby so that his father, a plasterer, 
could find better work. 

"It was the boiled bacon and 
cabbage syndrome," says Mik and 



• • 



It's pointless to argue who was first 
but there are certainly links through 
looks, white disco rhythms, a strong 
awareness of Europe and an interest in 
sci-fi. (Classix' first two singles were 
'The Robots Dance" and "Nasty Little 
Green Men".) 

But Classix have a far more 
traditional view of a band's function 
than some of their new found 
contemporaries. No merging into the 
background for them — they demand 
that their audience focus their attention 
entirely on the band for the duration of 
their set. They hit them with big sound, 
big lights, costumes, smoke and 
strobes — the whole shooting match 
that was scorned by punk. And no 
apologies for that. 

The 'B' side of the current single, 
"Night People" (also the title of their 
first album which is due out in late April 
or early May), is, according to Sal, 
"about the New Romantics or 
whatever as ordinary people. When 
the gig's happening they're 



JSlouveaux 




[Qassix Nouveaux l-r: Mick Sweeney, Sal Sol o. B.P., G,m Steadmaf.^ ' 



blames his parents' Irish Catholic 
values for their lack of sympathy with 
his enthusiasm for music. Apparently 
they used to jeer when Mik's idols, 
Bolan and Ferry, popped up on TOTP. 

Sal assures him that this is also 
exactly what he had to put up with in 
his standard non-religious upbringing 
in Stevenage new town. But Mik insists 
that, although he still lives with his 
parents, he hasn't spoken to them in 
two years. Sal doubts this and points 
out that the Sweeneys are actually nice 
people and proud of their son. The 
facts start to blur but it is clear that Mik 
needs his personal generation gap. 

At least you can see that they have 
firm ideas about why they are 
"different", although nobody seems to 
have noticed them until they were "the 
same". In Classix' opinion, a lot of the 
bands currently wearing the 
Futurist/New Romantic tag are only 
just catching up with what they've 
been doing since their first gig in 
August '79. 



somewhere else, they've escaped. But 
when it's over they can't afford to float 
home in a taxi; they're not an elite." 

SAL AND Mik happily agree that the 
qualities of tunefulness, tightness and 
strong sound could have been found in 
any good chart record of the last fifteen 
years. Although Sal's first ever rock 
concert was Led Zeppelin at the Albert 
Hall in '68, his real teen favourites were 
pop adventurers like The Move and 
The Four Seasons — no doubt listening 
to Frankie Valli is what encouraged him 
to develop his own amazing falsetto. 

Mik's influences are equally off-beat. 
For the past year his favourite album 
has been "Simon And Garfunkel's 
Greatest Hits", and the names of Neil 
Sedaka and even Rodgers And 
Hammerstein come up in the 
conversation. Sling in a little Alice 
Cooper and Arthur Brown on the 
spectacle front and you'll appreciate 
that such a mixture has produced no 
single overwhelming influence. 



Mik met Sal about three years ago. 
He'd been wading around the 
post-punk quicksand in the latest line 
up of a once-touted band called Neo. 
Then one night at the Marquee he saw 
Sal strutting his distinctive stuff in a full 
length cape with a ruff of red monkey 
fur; a true original. Mik was not so 
impressed with Sal's band. The News, 
but nevertheless manoeuvred his way 
into the bassman's shoes. 

But The News were just another 
band in the process of burning out. The 
only thing Sal had got out of it was 
enough money from the record 
company to buy a lot of equipment, 
including synthesisers. 

Following the demise of The News 
Sal briefly flirted with an offer of work 
with a French producer in Italy but 
decided to stay and form his own band 
instead. 

He called Mik, then B. P. Hording 
(drums) and Jak Airport (guitar) from 
the disbanding X-Ray Spex. Within a 
few months Jak had been replaced by 
Gary Steadman who had earlier been 
rejected at an audition for The News, 
an honour he shares with Richard 
Burgess, the Landscape leader. 

The new band made their live debut 
at London's Music Machine, drawing 
300 people. Over the following year 
they went back every six weeks and by 
the time the venue was closed down 
they were pulling a thousand despite 
the fact that they had no record out and 
were attracting little publicity. 

Sal wrote "Guilty" during that phase, 
referring specifically to the record 
company A&R men who treated him 
with such contempt that he sometimes 
felt making music must be a crime. 

"You have an appointment for two 
o'clock and you arrive very keen at 
1.50, and maybe they get around to 
seeing you at 3.30 and you know by 
their attitude that they're not 
interested." 

Classix were reassured by their 
slow, steady progress though and say 
they never considered the possibility of 
not making it. In the same way they 
now regard their modest chart position 
as a step on an inevitable climb. A fan 
following has developed around them, 
fuelling their faith. 

'They'd find out where we were 
meeting to go off to a gig and come 
with us in the van," Mik says 
affectionately, "then stop the night in it 
if we couldn't sneak them into our 
hotel. You know, the great thing about 
the last couple of years with Classix is 
that we have made more friends than 
in the rest of our lives put together!" 

Eventually they put out a Capital 
Radio "Nfcky Home Show" tape of 
"The Robots Dance" as a single on 
their own ESP label. It stayed in the 
Independent Charts for three months 
and the band were then signed to 
Liberty/United Artists, who were 
promptly absorbed into EMI. Now that 
stumbling giant of a record company is 
licking its lips over their prospects and 
anticipating a bonanza. 

And the band of course are ready 
and willing. Attention, praise, money; 
they will not offend by refusing. They 
don't spell their art with a capital A. But 
if they can match up to one critic's 
description of them as "Electronic 
Tamla Motown" Classix Nouveaux will 
be more than pleased and more than 
prosperous. 



NIGHT GAMES 

on Vertigo Records "■■-*# 

ne s almost incomplete 

You wouldn't know her at all 

He's /ust a fool "psngnim 

That some would like to pity 
They work it out in the house of sin 

Chorus 
Night games 

Theywe«°tL*'""''"'8''*9'""«'» 

>t sKTh^^Cles """"■ ^"^^ "-'* "- — 

Night games 

AfwL^."V'*'*'""'"'fl''t games 
Always play one last frame 

Games Of the night(ltsays"in the rules) 

flZ """in ''•* " '»'««'ent scene 
The7m-t.^>'' " "'"•''«'•» "^^^ 
Yo^cra^t l"Crj?'*y *•'«*' choose 

flepeat chorus twice 





TWILIGHT ZONE 
IT^IBCII 

on EMI Records 

She lays in bed at night and that is when i make my call 
But when she stares at me she can't see nothing at all 
Because you see I can't take no shape or form 
K's been three long years since I've been gone 

I can't get used to purgatory, you know it really makes me cry 

I'll never know the reason why I had to go 

I'm crying 

Oh oh oh deep inside me 

Oh oh oh can't you see me? 

Ah ah ah can't you see me? 

I'm looking forward to her spirit coming over to me 
I feel so tempted to bring her on over to see 
Just what it's like to be hanging on the other side 
I feel so lonely, it's been a long time since I died 

I try to show her that she's never gonna be alone 

Because my spirit is imprisoned in the twilight zone 

I'm crying 

Oh oh oh deep inside me 

Oh oh oh can't you hear me? 

Ah ah ah can't you see me? 

Words and music by Murray/Harris 

Reproduced by permission Zomba Music Publishers Ltd. 




iiiiiii 



;:??; 



Swedish girl (16] wants a male panpal (16-18). I Ilka 
all music axcapt Bonay M, Tesna Marie and that 
sort of stuff, t like aiiorts. meeting people and 
travel. I hope someone writes to me: ICetarina 
Ben gisson, Tallrtgan 2B, 826 00 Sdderhamn, 
Sweden. 

My interests are David Bowie, old movies, origami, 
George Gerschwin, xerox art, corresponding In 
xerox and creathre art. dancing, having fun, and 
getting to know people. Write to: Mary Jean Eliae 
Buchheld (IB), 273S Vine Street Apt. 1. Cincinnati, 
Ohio4S219,U.SA. 

Anyone wishing to sand pics, articles or news of 
Gary Numan — pieaee write — I will return the 
favour of any of your favourites. Write to : Kim 
Sifford, 65 Westview Avenue, Greensville, S.C.. 
B,U.S.A. I'm19. 



Stateside pession player needs some black ft 
white humour, so humour me with an interest In 
trading recoids, religions, radioactivity, info. Mess, 
insults, buttons, birthrights, birthwronga, 
boredom, poses, pks and perversions. P.E.B., 2756 
Ijineashire Road, 3 Cleveland Hts., Ohh> 44106, 

Are there any mods out there who are 16-f and 
would like to write to a 16-year-old modatte who 
goes weak at the kneea over boys in fistitaH parkas 
and The l^mbrettas. Write to: Michelle Brown, 65 
St. Mary's Road, Stubbington, Fareham, 
Hampshire P0U2HG. 

Young boy (14) seeks female penpel, eged 14-15. 
Am interested in rock music, particularly Mppy 
music (such as Pink Floyd, Yes etc). Also giga, 
parties and cycling. Contact; Miles Finlay, 1 1 
Glenhurst Avenue, Bexley, Kent DAS 3QH. 



I am 24. Interests: meeting people and travelling. 
Musical tastes: are endless es have many 
hundreds i.e. reggae, Numan, Bowie, Jah Wobble, 
the Jam, Ciaah ate. Considered way-out in life 
style. Horror movie and gangster mad, way-out 
dresser. Considered locally as weirdo but follow no 
definite trend. Would like female penpals aged 
18-i-. Contact: Stephen Heptinstail, 81 Churchand, 
Harlow, Essex CM18 6ST. 

12 year old would like a male penpel 12-15. Ukes 
rock 'n' roll, discos, Abba, and roller skating. 
Diaiikes mods and punks. Photo If possible to: 
Natalie GaUe, 38 Ashf ield, Stantonbury, Milton 
Keynes, Bucks MK14 6AU. 

You're not obliged to read thia, but Mad Myck, 
who is into anything that fita hia fatty Buster 
Bloodvessel iookalike l>ody needs a biro buddy, so 
write to him if you're psycho enough at: 8 
Clitherslde Road, Lytham St. Annas, l^ncs FYS 
3QN. He likes Madness and most other music, 
CB's, movies and more. Hate heavy metel, football 
and mora . . . Send your que*tk>nnairas to the 
above address. 

Boy needed aged 14-16 who wears moccasins with 
buckles, or docs. Likes football and moat sports, 
Blondie, O.M.D., discos, fsshion, gigs etc. Hates 
Man. Utd., Police, punk and Motorhead. Pics to: 
Sophia Peterson, Stable Cottage, Newdigete 
Place, Newdigate, Dorking, Surrey RH5 5BP. P.8. f 
don't mind earring and crew cuta. 

My fave groups era The Police and Roxy Music, and 
I Ilka mods. I have a fair sense of humour, end I love 
wrKing to people. Male or female buddies wanted, 
aged 15-18. A.L.A. Write to: Helen Shirley (17), 7 
Woodaide Fm., Red Row, Morpeth, 
Northumberland. 



Fed up, trendy gipla (aged 15) at Boardbig School 
would like to wrKe to handaome guys 154-. Must 
be into: Police, Jam, John Foxx, parties and 
dancing. If you fit the bill, write to: Uza L' Anson 
and Nicola Chenery, The Grove School, Mindhead, 
Surrey. 

Roale (Dozy) Fullarton and Jackie (Sid) Ritchie 
would like penpals wKh same interests; Dozy is a 
14-yaar-old everything, loves mod and heavy 
metal. Fave groups: Meatloaf, Madness and 
Lambrettaa. Age group 14-16. SM is a 16-year-okl 
punk who loves the Sex Pistols, end also like 
Siouxsie and The Banshees, P.I.L., Adam And Tlie 
Ants and Buzzcocks. Penpal from London if 
poasibie, age group 16-19. Maiea/females, and 
photos please. Write to: Dozy ft Sid, 40 Craigmore 
Street, KIricton, Dundee DD3 OEA. 

5 female Poltee fanatics aged 15-16 would like any 
male Polhse fans (15-17) to write to them. 
Preferably no punks. Pics please to: Leigh, Alex, 
Trecey, Jo and Janet, 36 Cowper Gardens, 
Southgate, London N144NR. 

I would like a good looking male (geometric hair 
etc.) aged 16-18. I'm disco mad and love reggae, 
iazz, funk and northern soul. A.L.A. Contact: Cathy 
Preston (16), 16 Farm Road, Staines, Middlesex. 

Calling all male young soul rebels, if you're Into 
Doxy's, woolly hats and pencil moustsches and 
aged 16-I-, three lonely female Dexy fans are 
waiting to hear from you. We are also into good 
horror movies and going to night clubs. PIsaae 
endoae your photo to : Julie, Sophia and Helen (all 
aged 16), "Maraisburg", St. Ives Road, Carbis Bay, 
St. hraa, Cornwall. A. LA. 

PLEASE — No more entries just nowl 







-tnoyeiCcovEsaoftY au> 

WAS OHUV ONe THINCa HE 
COVIADO.. 





STRAN&C HEr,Bur NEXT l^UC 
VWRSE SO IF VOU'«E 

^ THING. 30INMI6. 

NEWnWEFOR 
STRftN6tTAiV.S. 



vihHit»>3VuN R£(<»BT€ft. . 



-/ifPf.8U 



37 



QUEENACRE LTD. 

(Oept HQ11) 15, The Mall, 
Southgate, London N14 6LR 

Tel: 01-8823992 

Details as follows: 

Colours: Red, Yellow, Blue, Black and White 

Sizes: SmI, Med. and Large. 

T-shirts also available in child Sizes: 26", 28", 

When ordering state size, colour and one 

alternative colour. 
Postage and packing: Please add 30p 
Per Garment. 



PLEASE SEND S.A.E. FOR FREE CATALOGUE 
Children's sweatshirts now available. 
. /u «. Sizes: 26", 28" 30" 

^/ 
T.tTt PEACE 




r^-g^.fnii'i'iiiffl 



SWEAT-SHIRT 

HEAVY COTTON FLEECE 

UNED£t.4SEACH0R 

£10.60 for 2. 




T160 Stray Cats 

T181 Saxon 'Strong Arm of 

the Lav/ 
T182 Madness Baggy 

Trousers 
T183 More Specials 
T184 Police Z«!]f«ta 
T185 Dire Straits 
T186Toyali 
T187 Talking Heads 
T188 B.62S 
T189 Fischer Z 
T190 Joy Division 
T191 Dead Kennedys 
T192 Cockney Rejects 
T193 X T C 

T194 Stiff Little Fingers 
T195 Ultravox 
T196 Teardrop Explodes 



OAOER FORM: Dept (HQIIh'oueenacre Ltd., 
1S.the Mall, Southgate, London N14 SLR 
(FftEE CATALOGUE SENT WITH EVERY ORDER) 

NAME (Print Clearly) 

ADDRESS 



TIUDE AND EXPORT 

ENOUIRIES 

WELCOME 

Offers apply to 
U.K. & Eire only 



T-SHIRT (No's) 

SWEATSHIRT (No's) 

SIZES/COLOURS 

ENCLOSE £ HOll 



I f-^'y I 



ARMBANDS IN 

SAME TITLES AS 

TIES £1.00 



MdQS 



STRIP SEW ONS 

12"x4'' 

IN SAME TITLES AS TIES 

ONLY £1.00 



Tflcf 



GIANT SIZE SEW-ONS 12" x 7'. 

ALL GROUPS AVAILABLE AS 

UNDER TOP 100 TIES 

ONLY £1.00 EACHI 



MADNESS 





BLACK LEATHER BELTS 
(QUALITY HIDEI WITH 
POINTED STUDS ONLY £3.00 
POINTED CHROME STUDS 
(LARGE SIZE) EASY TO FIT 
TO DENIM, LEATHER, ETC. 
ONLY £2.00 PER 100 



TOP 
£2.00 



1 



STRAIGHT TIES 
REAL LEATHER 



1 MADNESS 

2 GARY NUMAN 

3 BLONDie 

4 THE POLICE 

5 SPECIALS 
GTHEBUnES 

7 ROLLING STONES 

8 KATE BUSH 

9 SEX PISTOLS 
10 SID VICIOUS 
11STRANGIERS 
1! KISS 

13 ELVIS 

14 THE CLASH 
ISaOOMTOWNRATS 
!G SHAM 69 

17999 
1SSI0UXIE 
1 9 THE JAM 
20HAMONES 
2\ OESTBOV 

22 GOD SAVE THE QUEEN 

23 RUTS 
24SLF 

26ANARCMV 
26 CRASS 

17 ADAM AND THE ANTS 
2B ANT INVASION 
29DEADKENNEDVS 
30SPIZZENEnGieO 

31 UlTHAVOX 

32 BUZZCOCKS 

33 QUEEN 

34ROCK'N' ROLL SWINDLE 



36OEV0 
36U0SArER 

37 SUPERTRAMP 

38 ROXV MUSIC 

SSHEWMUSIK 

40 MATCHBOX 

41 SIMPLE MINDS 
4ZWASTEO'r0aTH 
430UrTD 
4«XTC 

45 STATUS QUO 

46 DIANA ROSS 
47'mEPlANCtS 
48 TOURISTS 

48 U2 

50 TALKING HEADS 

51 AC'DC 

51 BLUES BAND 
S3DEXVSMIDNI6HT 

RUNNERS 
54 JO'T DIVISION 
56PSrCHEDEUCFUflS 
SBBASIMENTS 
Sr ADAM a THE ANTS - 

ANTMUSIC 
SBKILLIN^JOKE 
59 VEUOW MAGIC 

ORCHESTRA 
BO DELTA 5 
SITOYAH 
U THE DAMNED 
S3 COCKNEY REJECTS 
UGANGOf FOUn 
t6 DAVID BOWIE 
06 ONLY ONES 
67SEUCTER 



68 BA JHAUS 

69 DISCHARGE 

70 BAD MANNERS 
71UB40 

72 FALL 

73ECH0&THEBUNNYMEH 
74 PERE US J 
75PIL 

76 BRJCE SPRINGSTEEN 

77 VELVET UNDERGRQUNQ 

78 THE PHOTOS 

79 SAXON 
BOTHEMO-OETTCS 
B1 BOB MARLEY 
BiSID&UANCr 

83 ADAM & THE ANTS- 
VOUNG PARIStENS 

84 MODS 

85 IRON MAIDEN 
SB MOON DOGS 
17 PRETENDERS 
88 ABBA 
BIPINKMIUTARV 

80 SECTOR 27 

81 STINfi 

92 RAINBOW 

93 ADAM & THE ANTS - 
CAR TROUBLE 

9tlGGYP0P 

ffiBA.R0SERTSOM 

96 ADAM a THE ANTS - 

ZEROX 
97ROCK'N-flOOL 

98 ANGEUC UPSTARTS 

99 ULTRAVOX 
too PINK R.OVD 



KING SIZE FLAGS 2ff'x 12" 

ONLY £2.00 

DESIGNS AVAILABLE AS TIES. 



Send cash, post84 orders etc and an SAE (any size) with 
your order, to: 

ONE UP TRADING CO (Dept 14) 

45 Church Lane, WhitwIck. Coalville. Leics 
Offers apply to OK & Eire only 



AQAM AND THE ANTS 

His Own Book, Big Size, Big 
Pictures, Big Value. Only £1.95 

At last! Adam's own 

Story. How he turned 

the tables on those who 

said he was finished — 

Even before he'd 

started! How and why 

he came back fighting — 

And stuck it out— To 

win! What he loves 

about his music. Who 

really inspires him? 

The future. What it 

holds for him — And Antmusic. 

And why he knows he'll keep on winning! 

Mail Order Music, Camden House, 71 Higli St., Newmarket, Suffollc. 

To: Mail Order Music, Camden House, 71 High Street, 
Newmarket Suffolk. 

HURRY! HURRY! HURRY! Pleasesend me Adam. I enclose 
£2.50 D (includes post and pacl<ing). 

Name 




OP41169 



Address . 



P14B Overseas orders £3.00 Pluse allow up to 28 days lor delivery 



Bloct letters Please 



38 



¥Mm 



jV)4i4,, 



DEAR KAREN Of Blackpool, 

I think your letter was 
disgusting. O.K., so you've been 
an Adam And The Ants fan for 
some time but what makes you 
think you're any different from 
new fans? 

You both like the same music, 
don't you? As for the 
"teenyboppers", as you call 
them, on TOTP they do have the 
right to call themselves 
Antpeople. They like the music, 
too. 

As for forgetting Adam And 
The Ants, how could anybody 
possibly do that after they have 



had so many singles in the chart 
at one time? I think you are being 
too childish about the whole 
thing. You should welcome new 
fans and not argue about it. 
Nikkl — who is a Numan Fan (just 
in case of any arguments about 
defending myself). 

I AM writing to express my 
disgust at the letter from Karen of 
Blackpool. I think this was very 
naughty of her, as all she's trying 
to do (I take it for granted that 
she's female) is let everyone 
know she's been a fan longer 
than anyone else. But how else 



I THINK I'm going to faint (steps back in amazement etc.). Fred 
Dellar, what do you think you're doing? You work for Smash 
Hits, you know, and yet you gave Rainbows good review for 
their excellent "Difficult To Cure" album. 

I shall indeed be encouraged to buy Smash Hits again if this 
continues. Not that I'm complaining about the almost total lack 
of heavy rock and heavy metal in your wonderful magazine, but 
could we just have a tiny weeny picture of Angus Young? 
Heavy t^etal fan. South Croydon. 



y<r\ \y- 



.:^' 




would Adam and his mob get 
into the charts at all if it weren't 
for the "teenyboppers"? I'm sure 
Mr Ant performs for everyone, 
not just the chosen few. 

I've been a fan of XTC since '77 
(almostthe beginning) and 
instead of declaring myself an 
"original", I have been trying to 
encourage others to buy their 
wonderful records which haven't 
got half the acclaim they deserve. 
A Police and XTC fan. 

P.S. I thought I recognised The 
Police from somewhere else, and 
the advert you printed has jogged 
my memory. They're the 
Spumanti Family, the well-known 
acrobatics troupe. The human 
pyramid gave it away. 

ON READING the March 5th issue 
I was inspired to write another 
letter. The title of the letter was 
"Original Ant". 

Dearest Karen, please tell me 
how long you have to follow 
you-know-who to become an 
Antmaiden? I myself have been 
following them since January 
1980. Do I qualify yet? 

You sound to me like you are 
jealous that their recent success 
means that everyone around has 
got to hear their wonderful 
sound. You can't keep good 
things to yourself forever you 
know, so be a sport and invite 
people round to hear some Ant 
tracks and help more people to 
get to know this wonderful bunch 
of lads. 

Don't be selfish any longer. 
You should be pleased that 

ANSWERS TO CROSSWORD ON PAGE 27 



Antpeople are growing. Who 
knows, we may even dominate 
the world in the end. 
Anthony The Ant's Sister. 

WHO ARE you trying to kid by 
putting "Thanks" above the 
autographed Police photo? The 
day is still to come when The 
Police are grateful for any award. 
Having seen The Police on the 
Rock & Pop awards recently, it 
confirms our belief that The 
Police are ignorant slobs; they 
neither looked pleased or 
grateful. 

Perhaps the fact that Sting & 
Co. are world famous excuses 
them from being well-mannered 
and considerate about their fans, 
or is it just that each award is 
more insignificant than the last? 
We are not criticising their music, 
but their attitude towards the 
people who have voted for them 
and bought their records. So 
don't try to cover up for this aged 
trio's ignorance because, let's 
face it, saying thanks is now 
beyond their capabilities. 
Maggie, Penny, Tony and Miclf. 

The Police picture you're 
referring to was not our work. It 
was an advert paid for by the 
band to express their thanks to 
the Smash Hits readers who 
voted for them. 

IN THE issue March 5th, I was 
very pleased to read the Readers 
Poll results. 

Continues over page 



<Z 



ACROSS: 6 "Work"; 8 ■Mind Of A Toy"; 9 "Killers": 10 Baker; 12 Duet; 13 Step; 14 
Stewart; 15 Epic; 19 Cheap: 20 Teardrop lExplodes): 21 Air: 22 (Elvis) Aaron (Presley); 24 
Any; 25 Ohio: 26 Coast To (Coast): 27 Nine. 

DOWN: 1 "(Once) In A Lifetime"; 2 Mo-Oettes: 3 Cats; 4 "Double Fantasy"; 6 "Once (In A 
Lifetime)", 7 Kim 9 Kiki 11 Racey, 13 "Stand Down' , 16 (Teardrop) Explodes: 17 
Spandau. 18 Straits, 19 (Coast To) Coast, 23 Rick 



GOT YOUR free badge? Neat, eh? Well, here's how you can get our full set 
of five — that's Adam And The Ants, The Stray Cats, Status Quo, OMD 
and The Beat — for the price of a couple of stamps and an envelope. We'll 
give you all the details in due course. 

For the moment all you have to do is cut out and iteep the token 
opposite and keep your eyes peeled for similar tokens in the next three 
issues. You'll need three in all, so if this is someone else's copy you're 
reading, you can still qualify for this fab offer by purchasing the next three 
issues yourself. Watch this space because it has a habit of turning up all 
over the magazine. 



BADGE 



OFFER 



1 

TOKEN 

^SMASH' 
HITS 



From previous page 

I was ankle over eardrums, as 
should my fellow Numanoids 
have been, to see Gary up at the 
top. I then glanced my eyes 
towards the Most Unwanted 
Person Of The Year Award. I have 
only this to say; If I find out who 
voted Gary Numan up to fifth 
place, I will hang them with my 
sister's knicker elastic. 
Very Angry Numanoid, Salisbury. 

AFTER CLOSE scrutiny of the 
pin-up on the back of the March 
5th Issue, I realised with distaste 
that the offering was not in fact 
an advertisement for a brothel, 
but Honey Bane. 

It is clear that as she has no 
talent in other directions she has 
to get to the top by baring her 
breasts to the general public in 
order to increase her popularity. 

Seeing heron TOTP I observed 
that she was obviously more 
concerned with projecting her 
appearance and fondling her hair 
than with the load of crud she 
was "singing". 

Here I sit with my electric 
guitar, writing songs all on my 
own, wondering if in order to 
make it I should invest in a couple 
of bags of silicone and expose 
the results to all through a black 
fish net. 

Sharkey, the flat-chested 
Blockhead. 

IT REALLY makes me mad that 
the present Ultravox (with posing 
Midge Ure) has the nerve to 
release "Slow Motion" again. 
Trying to carry on their success 
after "Vienna" (now that they 
seem an established band) by 
using a song written by John 
Foxx (genius) and composed by 
the 1978 Ultravox seems pretty 
unfair to me. 
Lindzie. 

Now hold on there. The present 
Ultravox had nothing to do with 



mm^ 



the re-release of "Slow Motion"; 
this was the work of Island, their 
former record company, and has 
left the lads distinctly displeased. 
Blame it on the old record 
company who are using the 
success of "Vienna" to try and 
recoup some of the money they 
laid out during the band's lean 
years. 

FACT IS . . . you're wrong. A 
young lady requested a list of all 
Generation X records. 

"This should be the definitive 
list," you said. Then you missed 
out their best single, "Wild 
Youth". 
Gen X fan. 

Well, we did say that it should 
have been the definitive list. Fact 
is . . . you're right. 



SHREWDER MEMBERS of your 
readership will have noticed that 
one Steve Taylor is invariably 
called upon to conduct any 
interview involving persons Pale 
and Interesting. 

Is Taylor Pale and Interesting? 
The Passing Stranger and The 
Girl Who Dies Everyday, Vienna. 




Here he is, people. Unfortunately 
this picture doesn't exactly 
convey just how pale and 
interesting he is. 



WE WOULD like to know why 
Madness were not in your Gigz 
spot as we know they were at 
Cambridge Corn Exchange on 
Thursday, February 19th (it was 
great). 

You seem to have had 
everybody else in there except 
Madness. What did they do 
wrong? All we want is an answer 
to this small question. 
M & L, Cambridge. 

Because we have to go to press a 
long time before publication, the 
Gigz page cannot always be as 
comprehensive as we would like. 
The Madness gig you're referring 
to was one of a handful which 
the band played to make up for 
earlier dates that they'd been 
unable to do. Consequently 
these were only publicised in the 
immediate area to give local fans 
a good chance of obtaining 
tickets. 

IN YOUR last effort you had in 
Gigz that Elvis Costello and The 
Attractions were playing 
Wembley Arena the same night 
that The Who were playing 
(11/3/81). 

At the time Elvis and gang were 
actually making us happy singing 
at our own little City Hall. 

I have trust in your mag 
because it's the only readable 
one in its field and the NME is 
now just a bore. 

Get Happy. 
Miss Allaneous, Newcastle. 

I've got the sackcloth. Anyone 
seen the ashes? 

I AM writing to complain about 
The Vapors' British (7) tour. 

Last year they played quite a 
few dates but nowhere in Kent. I 
was extremely upset but I waited 
for their next tour feeling 
confident that they would come 
to Kent. But to my horror I have 



just found out that they are not, 
and (like last year) the nearest 
they are coming is London and 
there is no way I could go there to 
see them. 
Angry Vapors Fan, Canterbury. 

We checked this out with The 
Vapors and they did play 
Canterbury on their last tour. 
Although there is no Canterbury 
date this time around, they are 
visiting Brighton which isn't all 
that far away. 

I HAVE written to you twice 
before on the same subject — 
more on the independent charts. 
We only get a poxy page as it is 
and most people up my way buy 
things like Sounds, NME and 
Melody Maker just because they 
pay more attention to the 
independent groups. I know this 
letter will not get published 
because you only put the good 
things In. 
Spanner, Chatham, Kent. 

There are a million and one areas 
we'd like to cover in more depth, 
if only we had the space! 

HELLO SMASH Hits STOP An 
order for my copy has finally 
been placed with my reluctant 
newsagent just in time to miss 
your Adam Ant pic STOP He 
undoubtedly has a very beautiful 
chest STOP But never mind STOP 
I have been saved from instant 
death caused by uncontrollable 
lust reaching body temp of 2000 
C. causing instant human 
combustion STOP Loved Julian 
Cope's fantasy STOP I'd 
recommend Cream Of Tomato 
STOP Can I come and watch? 
STOP This is not a real telegram 
STOP 
Ena, Beckenham, Kent. 

Cease, desist, halt, give it a rest, 
STOP. 



^ 




MAIL ORDER 
ADVERTISING 



British Code of Advertising Practice 

Advertisements in this publication are required to conform to the British Code of Advertising Practice. In 
respect of mail order advertisements where money is paid in advance, the code requires advertisers to fulfil 
orders within 28 days, unless a longer delivery period if stated. Where goods are returned undamaged within 
seven days, the purchaser's money must be refunded. Please retain proof of postage despatch, as this may be 
needed. 

Mail Order Protection Scheme 

If you order goods from Mail Order advertisements in this magazine and pay by post in advance of delivery. 
Smash Hits will consider you for compensation if the Advertiser should become insolvent or bankrupt, 
provided : 

(1) You have not received the goods or had your money returned; and 

(2) You write to the Publisher of Smash Hits summarising the situation not earlier than 28 days from the day 
you sent your order and not later than two months from that day. 

Pleasedonot wait until the last moment to inform us. When you write, we will tell you how to make your claim 

and what evidence of payment is required. 

We guarantee to meet claims from readers made in accordance with the above procedure as soon as possible 

after the Advertiser has been declared bankrupt or insolvent. 

This guarantee covers only advance payment sent in direct response to an advertisement in this magazine (not, 

for example, payment made in response to catalogues etc, received as a result of answering such 

advertisements}. Classified advertisements are excluded. 



POP CASSEHES 



Too dear to buy? 

For only a few pence a day you can 

listen to any of our thousands of ^ 

cassettes. We will post them to 

your own home anywhere in the 

UK, Irish Republic and most of 

Europe 



Post 

Coupon NOW 

(No stamp required^ 



Borrow ours! 

We've got lots of pop, also film 
soundtracks, comedy, drama, lan- 
guage courses, light music, com- 
pilations, country music and 
classical. 

THE STEREO CASSETTE 
LENDING LIBRARY 



To: S.C.L.L. FREEPDST. CantBiiiury, 
Kent CT1 ZBR 

Rush ma youi FREE brochuia. 
Namt:^ti.m..Ii.f....jU.lli%k:0.. 



Addrwi- ' • • ' -^ I ' 



I II 



VSlDDf 



r-sa-^-J 



40 




Callers 
welcome 

WRITE OR 'PHONE 
for further Information 
TOP QUALITY Tel: (04024) 44870 

Tea & American Sweat Shirts printed to your specification. 
Many more groups & pop designs 
carried in our vast range of 
transfers. 
Colours: Tees — White, 
N. Blue, Red. 
Sweats — White, Grey, 
I Red, N. Blue, Denim, Green. 




QUANTITY 

TEE OR 

SWEAT SHIRT 



COLOURS 
Alternative Colour 



GROUP NAME 



PRICE 
£ 



POSTAGE: add 35p Per garment, (max £1.00 per order) 



NAME _ 
ADDRESS 




I enclose cheque/P.O. tor£ 



Texon House, 

Station Lane, Hornchurch, 

Essex RM12 6NB 

Tel: Hornchurch (04024) 44870 

Offer applies to UK & Eire only 



Wft«« oriUnM. II MOT Is Ml tnirnqh ro«iii to tun Mails, please use separate place ol papgr 




"VL,fe'-°«?'^ "y-TsT"- "»»-'°'" P3302ADAM ""'GfinY P3287 BLONDIE 

2r,R0--f?«l «Rn THE ARMY (of THE ANTS) '^""*?- , 25" x 38" £1 56 

24 X 60 £1 60 95p jj. ^ 33. ^^ 25" x 38- E1 55 25' x 38- £1 55 








P3273 MADNESS. 

3r X 25- £1 55 



B298 SEX PISTOL^' 
33" X 23" £1 50 



F37 JOHN 
AND YOKO: 
23- X 33" £1.20 



F78 WAITING ,269 HAZEL 

FOR PEACE: 1261 GARY ^CONNOR: 

23- X 33- 9Sp NUMAN: 29- X 39- £1 .56 29" X 39' £1 .56 

AtSOAVAnABLE — AU IN FULL COLOUR 




33" X 23- £1.50 EACH: 

B135 RITCHIE BLACKMORE 

6139 STATUS QUO 

Bt71 JIMMY PAGE 

B189 BLACK SABBATH 

B205 FREDDIE MERCURY 

B216 BOSTON 

B217 QUEEN 

B218 KISS 

B223 ELVIS COSTELLO 

B229 THE JAM 

B231 E.L.O. 

B233 DAVID BOWIE 

8243 RUSH 

B256 BUZZCOCKS 

B269 PAULINE 

B263 DEVO 

B264 NEIL YOUNG 

B269 SUPERTRAMP 

B271 BRUCE SPRINGSTEEN 



33" X 23" £1.60 EACH: 
B28I BOB GELDOF 
B28S STRANGLERS 
B287 DIRE STRAITS 
B288 CHEAP TRICK 
B299 BLONDIE 
B301 SEX PISTOLS 
B302 GARY NUMAN 
B303 STING 
B304 SELECTER 
B306 JOHN LYDON 
B309 PRETENDERS 
,B310 BLUE OYSTER CULT 
B314 U.F.O, 
B322 DEF LEPPARD 
B323 MOTORHEAD 
B326 SAXON 
B327 IGGY POP 
B329 B. HALFORD IJ. PRIEST) 
B330 IRON MAIDEN 



38" X 25" £1.55 EACH: 
P3195 THE CLASH 
P3196 RUSH 
P3222 KATE BUSH 
P3226 SEX PISTOLS 
P3232 MOTORHEAD 
P3243 SID VICIOUS 
P3246 BRYAN FERRY 
P3252 UNDERTONES 
P3264 WHITESNAKE 
P3256 JUDAS PRIEST 
P3261 SECRET AFFAIR 
P3269 THE SPECIALS 
P3276 BRUCE SPRINQSTEEN 
P3283 DEEP PURPLE 
P3284 IRON MAIDEN 
P328S BLACK SABBATH 
P3296 GENESIS 
P3297 STIFF LPTTLE FINGERS 
P3303 JOHN LENNON 



ALL POSTERS ARE IN COLOUR 

POSTAGE AND PACKING: One or Mo posters add Wp, three or more add tOp. 

POSTEH CATALOGUE: Send just SOp for our Ml illustrated catalogue lisHtig HUNDREDS of posters and prints. 

Imtny illustraud in fULL COLOUR) 



JVEMT; FOrb-ROCK Real full colour PHOTOGRAPHS (not printed reproductions], size 4% x 3'/S Inches approx.1 
Over 150 different photographs are currently available. We are unable to print the full list in this small space,'] 
hence we are offering a SAMPLE photograph plus a FULL LIST of all titles available, for JUST 55pl Choose your 
sample from the following: ABBA, AC/DC, BLONDIE, BOB MARLEY, BOB GELDOF, BUZZCOCKS. BLACK. 
SABBATH,_ BOWIE, CLASH, CLIFF RICHARD, CHEAP TRICK, DEEP PURPLE, GARY NUMAN GENESIS.) 
VMENORIX, JAM, JUDAS PRIEST, JUOIE TZUKE, KISS, KATE BUSH, LED ZfPP, MARC BOLAN, MADNESS 
MOTORHEAD, PINK FLOYD, POLICE, PRESLEY, PRETENDERS, QUEEN, RITCHIE BLACKMORE, RUSH, RUTS, 
SELECTER, SIOUXSIE, SEX PISTOLS, SHAM 69, SID VICIOUS, SPECIALS, STATUS QUO, STING, THIN LIZZY 
U.F.O., UK SUBS, VAN HALEN, WHITESNAKE, WHO, YES. 

For SAMPLE photograpti of your choice, send just 55p. 

(no additional charge for p.&p.) 



CAULDRON PROMOTIONS (Dept. S/H) 
47 LANDSEER ROAD, LONDON N19 4JG 

To: Cauldron Promotions (Dept. S/H), 47 Landseer Road, London N19 4JG 

NAME : Pt.EASE PRINT 

ADDRESS 



Please rusli ... catalogue(s) and/or Poster No(s) 

and/or "FOTO-ROCK" I enclose £ 

(allow about 1 days for delivery) 



. (including postage and 
pacldng, as priced alrave.] 



^^ 



Remember to check locally before setting out in case of late alterations. Compiled by Bev Hillier. 



THURSDAY APRIL 2 

Leo Soyer Ipswich Gaumont 

Chas & Dave Purfleef Circus Tavern 

Polecats Plymouth Polytechnic 

Odyssey Birmingham Night Out 

Spizzles Manchester Polytechnic 

Nell Sedaka Dublin Stadium (2 

shows) 

The Photos Coventry Tiffanys 

FRIDAY APRIL 3 

Leo Sayer Derby Assembly Rooms 

Chas & Dave Purfleet Circus Tavern 

Piranhas London The Venue 

Polecats Birmingham Cedar 

Ballroom 

Odyssey Birmingham Night Out 

Spizzles Huddersfield Club Eros 

The Photos Nottingham Rock City 

SATURDAY APRIL 4 

Leo Sayer Manchester Apollo 

Chas & Dave Purfleet Circus Tavern 

Polecats London The Venue 

Odyssey Birmingham Ight Out 

Dexys Midnight Runners Edinburgh 

Odeon 

Spizzles Nottingham Rock City 

The Photos St Albans City Hall 

Real Thing Lewisham Concert Hall 

SUNDAY APRIL 5 

Leo Sayer Southport Theatre 

Dexys Midnight Runners Liverpool 

Royal Court 

Spizzles Brighton Jenkinsons 

Neil Sedaka Bristol Colston Hall (2 

shows) 

The Photos London Lyceum 



MONDAY APRIL 6 

Dexys Midnight Runners Hull City 

Hall 

The Photos Bath Pavilion 

TUESDAY APRIL 7 

Leo Sayer Preston Guildhall 

Spizzles Birmingham Digfaeth Civic 

Hall 

Neil Sedaka Bournemouth Winter 

Gardens (2 shows) 



WEDNESDAY APRIL 8 

Leo Sayer Edinburgh Playhouse 

Spizzles Liverpool Rotters 



THURSDAY APRIL 9 

Leo Sayer Dundee Caird Hall 

Classix Nouveaux Guildford Civic Hall 

Dexys Midnight Runners 

Birmingham Odeon 

Spizzles Sunderland Mecca 

Neil Sedaka London Apollo Theatre 

FRIDAY APRIL 10 

Leo Sayer Aberdeen Capitol 

Classix Nouveaux Brighton Top 

Rank 

Piranhas Hastings Pier 

Dexys Midnight Runners Doncaster 

Odeon 

Spizzles Newcastle Mayfair 

Neil Sedaka London Apollo Theatre 

Real Thing Leeds Fox's 



SATURDAY APRIL 11 

Loo Sayer Glasgow Apollo 

Classix Nouveaux London Rainbow 

Dexys Midnight Runners Ipswich 

Gaumont 

Spizzles Bradford Tiffanys 

Neil Sedaka London Apollo Theatre 

(2 shows) 

Real Thing Cromer West Runton 

Pavilion 

Blues Band Nottingham Rock City 

SUNDAY APRIL 12 

Leo Sayer Newcastle City Hall 

Bowwowwow London Lyceum 

Dexys Midnight Runners Oxford 

New Theatre 

Nell Sedaka London Apollo Theatre 

Real Thing Salford Willows 

Blues Band London Hammersmith 

Palais 

MONDAY APRIL 13 
Dexys Midnight Runners 
Southampton Gaumont 
Spizzles Edinburgh Tiffanys 
Real Thing Chesterfield Aquarius 

TUESDAY APRIL 14 

Leo Sayer Bristol Colston Hall 

Neil Sedaka Liverpool Empire 

Spizzles Middlesbrough Rock Garden 

WEDNESDAY APRIL 15 

Leo Sayer Paignton Festival Theatre 

Girlschool Hanley Victoria Hall 

Neil Sedaka Newcastle City Hall (2 

shows) 

Spizzles Sheffield Top Rank 




Editorial and Advertising: 

Smash Hits 

52-55 Carnaby Street 

London W1V1PF 

Editor 
Ian Cranna 

Features Editor 
David Hepworth 

Design Editor 

Steve Bush 

Production Editor 

Kasper da Graaf 

Editorial Assistants 

Bev Hillier 

Linda Duff 
Editorial Consultant 

Nick Logan 

Ad Manager 

Rod Sopp 
Ad Assistant 
Adie Hegarty 

(Telephone: 01-439 8801) 

Contributors 

Robin Katz 

Red Starr 

FredDellar 

Mike Stand 

Jill Furmanovsky 

Mark Casto 

Steve Taylor 

Mark Ellen 

Deanne Pearson 

Ronhie Gurr 

Publisher 
Peter Strong 

Circulation Department: 

EMAP, Bretton Court, 

Bretton, Peterborough PE3 8D2 




FAN CLUBS 

(Remember to enclose a S.A.E.} 

VISAGE CLUB SET 

c/o Martin Barter 

9 Disraeli Road 

Putney 
London SW15 

KATE BUSH 

P.O Box 38 

Brighton BM 

Classix nouveaux 

3 St. Peter's Sq 

Hammersmith 

London W6 

STATUS QUO 
P.O BoK 430 
London SW10 



BOUND 



We're building firen that will burn until morning 

The smell of bookn and hot stone §urrounds us 

Tough is the leather that's strapped to my skin 

Strang are the bonds that we make 

IVe feel the steam as it rises around us 

Up bom the soil that is cracking its back 

Tough is the leather that's strapped to my skin 

Strong are the bonds that we sing 

Chorus 

Work till you're muscle bound all night long 

Work till you're muscle bound all night long 

(Gotta) work till you're muscle bound all night long 

(Gotta) work till you're muscle bound all night long 

We're huUding fires that will bum until morning 

The smell of books and hot stone surrounds us 

Tough is the leather that's strapped to my skin 

Strong are the bonds that we make 

To feel a pulsing from chanter to mountain 

Down through the vein and into the grain 

Strong is the shoulder that moves to the time 

Here is the land, it can break 

Repeal chorus 

Ha! Tough is the leather that's strapped to my skin 
Strong are the bonds that we sing 

Repeat chorus 

Words and music by G. Kemp 
Reproduced by permission Copyright Control 




SPANDAU 



I 
I 



Jwwvi 



lEFORMATION/CHRYSALIS RECORDS 



^CURE 

ALBUMS TO BE WON q w 

PAUL WELLER — '" 
POLECATS , 

in colour ^ 



TEARDROP EXPLODES